2011-12 Undergraduate Index A-Z

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Title	Offering	Standing	Credits	Credits	When	F	W	S	Su	Description	Preparatory	Faculty	Days	Multiple Standings	Start Quarters	Open Quarters
3D Printing Arlen Speights computer science visual arts	Course	FR–SRFreshmen - Senior	4	04	Day				Su 12Summer Session II	Explore the basics of 3D modeling with real physical results in plastic. We'll take part in the assembly of a RepRap 3D printer, learn to generate digital models in Sketchup, and produce plastic objects from them. We'll also devote time to study the ecological implications of plastics in daily life along with the economic implications of desktop manufacture.		Arlen Speights	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Animal Morphology, Motion, and Mind Ruth Hayes, Kevin Francis and Amy Cook biology media arts philosophy visual arts zoology 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
Animal Others in Image and Text Ruth Hayes and Anne de Marcken (Forbes) media arts media studies moving image visual arts	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
Art and Awareness: Art Practices and Collaborations in the 21st Century Evan Blackwell aesthetics art history sustainability studies visual arts	Program	FR–SRFreshmen - Senior	16	16	Day			S 12Spring		This program will investigate the social impact of art and explore what it means to be a “successful” artist working in the 21st century. How does the artist respond to current events, politics, social structures, ecological issues and existing paradigms in order to create a healthier community? How can the artist conduct meaningful dialogue about our cultural model? How can artists create awareness, and how can art effect social change?Our focus will examine the development of post-1960’s visual, installation, video, performance and ecological art, and its effects on the art world and the broader culture. We will study a variety of artists intent on making a difference in the world. We will look beyond art galleries, museums and collectors' homes and investigate ways in which art and art practices are supported and integrated into public places. This program will research artist collaborations, collectives and communities in order to understand how artists accomplish projects beyond the fixed studio space. We will take a collaborative approach to many of the studio projects and workshops to create work that goes beyond what a single individual could normally accomplish.Constructing with readily available materials not limited to traditional "fine art" mediums, we will gain skills in 2-D and 3-D design and construction methods, and link art making processes and materials to our ideas. These projects might culminate in site-specific installations, actions, performances, or objects - or take a less material-based approach using digital means and the World Wide Web.Weekly writing assignments, lectures, seminars, studio visits, and studio workshops will build a broader understanding of what art is and what it can do for the world. Students must be as committed their reading, writing and research as they are to their own art-making. This program requires a strong work ethic and self-discipline, and students will be expected to work intensively in the studios on campus.		Evan Blackwell		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Art, Culture, and Education Hirsh Diamant cultural studies education visual arts	Program	FR–SRFreshmen - Senior	8	08	Weekend	F 11 Fall	W 12Winter			Human societies and cultures express their values in education and art. Art is the earliest and most enduring expression of humanity. For community and the individual, art can be a practice of education and self-cultivation. In today's global community it is important to understand art and values of other cultures and by so doing to awaken art within oneself while learning to understand the "other."All children naturally understand the importance of art and are creating art constantly in their play. All children are artists and all can paint, play, sing, and dance. Children also have an instinctive sense of right and wrong. In the modern, industrial world these natural abilities often become suppressed and lost. Modern educators need to be confident in their own artistic abilities and grounded in their own moral core; they need to be trained in communication across cultures and able to support children's healthy development.The students in this half-time, interdisciplinary program will immerse themselves in study and practice of art and in cultural experiences that are vastly different from the Western dominant culture by studying Native American, Muslim, Hebrew, and Chinese cultures. Students will make art, study myths and world religions as they have been shaped by cultures and landscapes of the past, and examine cultural and ethical norms. Students will also examine cultural influences and pressures of today's global society and will investigate the importance of preserving and developing cultural, artistic, and ethical traditions. Students will engage in traditional academic study such as reading, writing, and seminars and will also engage in art making, meditation, community events, and the practice of Tai Ji. Students will learn about child and human development, will learn about alternative education systems, and will cultivate their own spiritual, meditative, ethical, and artistic life. In addition to classroom study, students will participate in retreats and will go on field trips to explore educational, art, and cultural resources in the community.In winter quarter students will be able to work on community service projects, in schools, and on Native American reservations.	arts, education, cultural studies	Hirsh Diamant	Sun	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Art for Art Therapists Gail Tremblay health visual arts	Course	FR–SRFreshmen - Senior	4	04	Day				Su 12Summer Session II	This course is designed to explore art projects that can be used in therapeutic settings with patients and clients. It will include readings and films about art used as therapy along with hands-on art projects that explore a variety of media. Students will be required to create at least five works of art using various media and to write a summary at the end of the summer session that explores what they have learned.	art therapy	Gail Tremblay	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Art of Mosaic Ann Storey art history history visual arts	Program	FR–SRFreshmen - Senior	8	08	Evening	F 11 Fall				This interdisciplinary class will explore the art and art history of mosaics. An ancient art that combines practicality with beauty, the mosaic medium is currently having a renaissance as contemporary artists explore its use in architectural design and outdoor sites. In studying the history of mosaic, we will concentrate on three eras when the medium flourished: the Classical and Byzantine periods, the Arts and Crafts Movement and Art Nouveau era, and the contemporary art period. Students will be guided in a process for making both two-dimensional and three-dimensional mosaic artworks. They will also have writing projects, research assignments, and workshops to help them to write and talk about art more analytically. Art project ideas will grow out of studying the history of mosaics. Critique/analysis sessions will emphasize using design principles to make more compelling artworks.	visual arts, art history, museum studies, education, design	Ann Storey	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Arts In New York Ariel Goldberger architecture community studies consciousness studies cultural studies dance field studies language studies literature media studies moving image music queer studies somatic studies theater visual arts writing Signature Required: Spring	Program	FR–SRFreshmen - Senior	16	16	Day and Evening			S 12Spring		This program will immerse students in studying the intense and lively cultural life of New York City, the most active arts production center in the United States, and perhaps the world. Sessions will meet weekly in different cultural institutions to participate in art events as active audience members, to develop an educated and critical appreciation of the richness, complexity and current trends of artistic production in New York.We will spend two weeks on campus doing preparatory research in areas of each student's interest in order to create the structure for an individual project or practicum. Students may choose to create a project by engaging in artistic work, research, or both. Students will be responsible for making all necessary arrangements for room and board, as well as budgeting for individual event tickets. All students will be expected to present a final report of their experience and project.After the initial two weeks of research and preparation, participants in the program will fly to New York City for six or seven weeks, where they will engage in group and individual activities, depending on each student practicum or project. Students will attend some events as a group and some related to their own projects. We will attend events in a wide range of sites, from established world-renowned institutions to emergent art spaces.Depending on the season, performance events may include events in places such as PS 122, La MAMA, The Kitchen, HERE Art Center, off-off-Broadway small theaters, the Brooklyn Academy of Music, Broadway productions and Lincoln Center. Regular dance events may include modern dance performances, experimental works, festivals at the Joyce Theater, and more traditional ballet events in venues such as the New York City Ballet. Specific visual arts events may consist of trips to the gallery "scene" in Chelsea, PS1, MOMA, DIA Arts Center, The Met, under the radar spaces and other sites. We may attend poetry readings at places such as The Bowery Poetry Club, the Nuyorican Poets Cafe, The St. Marks Poetry Project, The Academy of American Poets and The New York Public Library. The class will also endeavor to attend other culturally relevant institutions such as the Japan Society, the Asia Society, The Jewish Museum, The Schomburg Center, The Dwyer Cultural Center and El Museo del Barrio to experience a wide range of cultural diversity. Most weekly group activities will be followed by a discussion or seminar.We will spend the final week of the quarter back on campus in Olympia, completing final report presentations for the whole class.	architecture, community studies, consciousness studies, cultural studies, dance, field studies, language studies, literature, media studies, moving image, music, queer studies, somatic studies, theater, visual arts, and writing.	Ariel Goldberger		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Between Image and Word Shaw Osha (Flores) and Trevor Speller aesthetics cultural studies literature visual arts writing	Program	FR–SRFreshmen - Senior	16	16	Day			S 12Spring		- Marlene Dumas (1984) In (1789; 1794), the English poet and painter William Blake famously presented his poems on pages surrounded by his own drawings. This kind of interrelationship of images and words is an artistic tradition that is still alive and well, in visual arts and book arts, from painting to graphic novels. This kind of work asks important questions of both literature and visual art, such as: This one-quarter, all-level program explores the relationships between visual art and the written word. Over the course of the program, we will be examining and producing singular works in which words and images each other - where one form does not privilege or illustrate the other. They both work in the service of art and aesthetics by framing and giving form to ideas. These hybrid works of language and art point to new and alternative ways of seeing, reading, and interpreting the world. We plan to take a look at the ways language has interacted with image: reading and seeing. The program work will be both creative and critical. In addition to reading and viewing artwork, criticism, and theory, students can expect to finish a small book of multi-, inter- or mixed medial writing and artwork by the end of the quarter that challenges and responds to the curriculum. The program includes lecture, seminar, and studio time.Of literary interest will be the traditions of concrete poetry, children's literature, graphic novels and book arts. Representative authors and artists may include William Blake, Lewis Carroll, Tom Phillips, John Cage, Alan Moore, Maurice Sendak, Barbara Lehman, Donald Crews, and others.Of artistic interest will be visual art that uses text and artists' books. Representative authors and artists may include Art Spiegelman, Cy Twombly, Philip Guston, Ed Ruscha, Ree Morton, Jenny Holzer, Raymond Pettibon, and others.In addition to primary works, students will be expected to read works of artistic and literary theory relating to issues germane to the program. Theorists such as Johanna Drucker, Roland Barthes, Edward R. Tufte, Roy Harris and Scott McCloud will help shape our understandings of the gaps between the image and the word.	visual art, writing, literature, and critical studies.	Shaw Osha (Flores) Trevor Speller		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Black and White Photography: Summerwork Bob Haft visual arts	Program	FR–SRFreshmen - Senior	8	08	Day				Su 12Summer Session I	Summerwork is an intensive, hands-on program for students of all skill levels wishing to learn the basics of the 35mm camera (or larger format), darkroom techniques, aesthetics, and a short history of photography. A final project involves production of a book of photographs; each student will receive a copy at quarter’s end. Emphasis is placed on learning to see as an artist does, taking risks with one’s work, and being open to new ideas.		Bob Haft	Mon Tue Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Ceramics: Form and Function Aisha Harrison visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening		W 12Winter			In this class students will explore the sculptural and design potential of functional ceramic forms. Topics discussed will include elements of design, historical and cultural significances of functional forms, and integration of surface and form. Techniques will include wheel throwing, alteration of thrown forms, piecing parts to make complex or larger forms, and creating hand-built accoutrements.		Aisha Harrison	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Ceramics: Global Traditions, Contemporary Practice Aisha Harrison visual arts	Program	FR–SRFreshmen - Senior	8	08	Evening				Su 12Summer Full	In , students will study global ceramic traditions, look at artists whose work is in dialogue with tradition, and create a series of pieces drawing from traditional forms or ideas. An intensive studio practice will incorporate traditional methods, hand-building, throwing, and surface decoration, and will also explore how these methods are affected by cultural ideas. Students will discuss readings and complete a research paper focused on issues surrounding the use of traditional forms and ideas in contemporary art.		Aisha Harrison	Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Ceramics: Introduction to Sculpture Aisha Harrison visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening	F 11 Fall				This is an introductory studio course in forming processes in ceramics, starting with handbuilding techniques and progressing to wheel-throwing techniques for altered cylindrical forms. Students will learn the handbuilding techniques of pinching, coil-building, slab-building, extruding, and an introduction to basic wheel-throwing. Students will be introduced to the use of slips and low-fire glazes. Emphasis will be on learning construction techniques, integrating the principles of three-dimensional design, and developing students’ individual sculptural concepts.		Aisha Harrison	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Ceramics: Sculpting the Human Form Aisha Harrison visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening			S 12Spring		In this class students will sharpen their observation skills by rendering the human form using a live model. Topics discussed will include the ethics of using the human form in art, determining if a figure is needed in a work, and the implications of using a partial or whole body. Skills covered include construction of armatures, sculpting around an armature with solid clay, hollowing and reconstruction, and techniques for sculpting problematic areas like heads, hands, and feet. A variety of surface options will also be covered including fired and room temperature glaze.		Aisha Harrison	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Drawing a Life Marilyn Frasca visual arts writing	Program	SO–SRSophomore - Senior	8	08	Day				Su 12Summer Session I			Marilyn Frasca	Tue Wed Thu Fri	Sophomore SO Junior JR Senior SR	Summer	Summer
Drawing Marathon Shaw Osha (Flores) visual arts	Course	FR–SRFreshmen - Senior	4	04	Day				Su 12Summer Session I	This intensive drawing program runs for two weeks. Open to all levels, this immersive drawing class will address the importance of drawing as the basis of understanding one's experience in the world and as a language integral to all visual art. Primarily, we will study the figure as a structure in space and mark making as a process of investigation. There will be some reading and writing as well as critiques. The Drawing Marathon will push artists to a new level of working.		Shaw Osha (Flores)	Mon Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Drawing on Earth: Explorations in the Aesthetics and Dynamics of the Earth Lucia Harrison and Abir Biswas aesthetics art history ecology environmental studies field studies geography geology natural history visual arts writing	Program	FR–SOFreshmen - Sophomore	16	16	Day	F 11 Fall	W 12Winter			This program offers an introductory study of the Earth, through geology and art. What makes the earth a habitable planet? What forces have shaped the geology of the Pacific Northwest? These questions have fascinated people for centuries. Both scientists and artists rely heavily on skills of observation and description to understand the world, and to convey that understanding to others. Geologists use images, diagrams and figures to illustrate concepts and communicate research. Artists take scientific information to inform their work, and seek to communicate the implications of what science tells us about the world. They also draw on scientific concepts as metaphors for autobiographical artworks. In the fall, we will use science and art to study basic concepts in earth science such as geologic time, plate tectonics, earth materials and how they are formed, the hydrological cycle and stream ecology. Case studies in the Cascade Mountain Range and Nisqually Watershed will provide hands-on experience. In the winter, we further this study to include soil formation, nutrient cycling, ocean basin sand currents, and climate change. Field studies will include a trip to the Olympic Peninsula where we will observe coastal processes. Geologic time and evidence of the Earth's dynamic past are recorded in rocks on the landscape. Students will learn basic techniques in observational drawing and watercolor painting. They will learn the discipline of keeping illustrated field journals to inform their studies of geological processes. They will also develop finished artworks ranging from scientific illustration to personal expression.	geology, environmental studies, education and visual arts.	Lucia Harrison Abir Biswas		Freshmen FR Sophomore SO	Fall	Fall Winter
Drawing Practices: Contemporary Applications Judith Baumann visual arts Signature Required: Spring	Course	FR–SRFreshmen - Senior	4	04	Evening			S 12Spring		Designed for intermediate to advanced drawing students, this course will focus on contemporary applications of traditional drawing practices. Building upon observational drawing skills, students will work with invented compositions and alternative materials, investigating mark making, collage methods, and color theory. Class time will be devoted to presentations, critiques, demonstrations, and in-class exercises. Students will be expected to work outside of designated class time to complete their work.		Judith Baumann	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Drawing Practices: Figurative Studies Judith Baumann visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening		W 12Winter			This course focuses on the traditional life-drawing practices of observing and drawing the human figure from live models. Students will use a variety of media ranging from graphite to pastels as they learn to correctly anatomically render the human form. Homework assignments will supplement in-class instruction and visual presentations. Several readings will also be given throughout the quarter. While previous drawing experience is not required, it is recommended.		Judith Baumann	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Drawing Practices: Foundations Judith Baumann visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening	F 11 Fall				This course is an introduction to principles and techniques in drawing. Students will gain a working knowledge of line, shape, perspective, proportion, volume, and composition. Using both wet and dry media, students will experiment with the traditions of hand-drawn imagery. Students will work toward the development of an informed, personal style, aided by research of various artistic movements and influential artists. Students will be required to keep a sketchbook throughout the quarter and complete drawing assignments outside of studio time. Presentations on the history and contemporary application of drawing will contextualize studio work. A final portfolio of completed assignments is due at the end of the quarter.		Judith Baumann	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Drawn from Life: Art for the Uninitiated Bob Haft art history visual arts	Program	FR ONLYFreshmen Only	16	16	Day			S 12Spring		This is an entry-level arts program for freshmen who are interested in exploring what it means to make art and to be an artist. It is designed for those to whom art is entirely foreign--but who are, nonetheless, interested in learning what it's all about--as well as for those who have already taken art courses and feel a strong affinity for it. The program will have three components: studio art, art history and literature. The studio component of the program will cover basic drawing skills, both of still lives and the human figure. Art history will consist of an introduction to Western art, and will have connections with the literature that we read. Our books may include by Kurt Vonnegut, by Chaim Potok, by Wassily Kandinsky, by John Berger, by Margaret Atwood, and by Robert Irwin.	visual arts and the humanities.	Bob Haft	Tue Tue Wed Thu Fri	Freshmen FR	Spring	Spring
Embracing Conflict Mark Harrison and Theresa Aragon business and management psychology visual arts	Program	SO–SRSophomore - Senior	8	08	Weekend	F 11 Fall	W 12Winter			Conflict is a fundamental dynamic of human experience and interaction. It is the necessary struggle to balance concern for self with connections to others. Because pain, suffering, and stress are deeply associated with our perception of conflict, we tend to regard conflict as a destructive or destabilizing force.Seen from another perspective, however, conflict is one of the most life-affirming forces in nature. Without conflict, children would not develop into normal human beings. Without conflict, literature and the performing arts would be dull and insignificant. Without conflict (and conflict resolution), we would live in a rather uneventful and humorless world. The challenge for all of us and the purpose of this program is to understand and experience conflict as an important, unavoidable, and generally useful lifeforce. In this two-quarter program, we will explore and analyze conflict from the perspective of the in the fall and in the winter. We will draw on a variety of sources—among them the arts, current events and politics, work and the business environment, forms of play—to learn about the nature of conflict and its role in society. The program format will include lectures, seminars (in class and online), as well as active learning in the form of workshops, exercises, group and individual presentations, and field trips to performances. We will focus on clarity in oral and written communication, critical analysis, and the ability to work across disciplines and significant differences.		Mark Harrison Theresa Aragon	Tue Sat Sun	Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Fabrication of Form in Metal Bob Woods visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening		W 12Winter			This studio course presents the opportunity for intermediate to advanced work in metal fabrication as applied to furniture, lighting, and sculptural design. Contemporary artists' work will be investigated. Students will do drawings, build models, and complete a final project of their own design.		Bob Woods	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
The Graphic Novel Steve Blakeslee literature visual arts	Course	FR–SRFreshmen - Senior	4, 8	04 08	Evening				Su 12Summer Session I	Over the past 30 years, the graphic novel has won numerous readers with its bold topics, innovative forms, and vivid artwork. We will explore the origins, development, and unique workings of these sequential narratives, from the socially conscious woodcut novels of the 1930s (e.g., Lynd Ward’s ) to the global adventures of Hergé’s to Alan Moore and Dave Gibbons' 1980s game-changer, . Other works will include Scott McCloud's and recent graphic memoirs. Our overall goal is to develop an informed and critical perspective on this powerful medium. Students registered for 8 credits will research a particular author-artist, genre, or theme, or develop graphic narratives of their own.		Steve Blakeslee	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
The Graphic Novel: A Critical Examination Steve Blakeslee and Tom Maddox literature media studies visual arts writing	Program	FR–SRFreshmen - Senior	16	16	Day			S 12Spring		In the past decade, graphic novels have become recognized as an important new form of storytelling, shaping contemporary culture even as they are shaped by it. These book-length, comic-art narratives and compilations employ a complex and iconic visual language. Combining and expanding on elements associated with literature, 2-D visual art, and cinema, the medium offers unique opportunities for reader immersion, emotional involvement, and even imaginative co-creation. We will study sequential narratives that represent diverse periods, perspectives, styles, and subject matter--from the “high art” woodcut novels of the 1930s (e.g., Lynd Ward’s ) to Art Spiegelman’s groundbreaking Holocaust memoir, , to the bizarre but entrancing alternate universe of Jim Woodring’s . While many of these works include humor, they frequently center on serious topics, including war, religious oppression, social and economic inequality, and dilemmas of ethnic and sexual identity. We will carefully examine each text at multiple levels of composition, from single frames to the work as a whole, and read selected theory, criticism, and commentary, including Scott McCloud’s and Matt Madden’s . More generally, we will work with a widely-employed model of storytelling—based on act structure, character arc, and protagonist-focused narrative—to explore the ways that stories can migrate across media and find new modes of expression. As writers, students will develop and articulate their new understandings by means of response papers, visual analyses, background research, fictional and nonfictional narratives, reflective journals, and other activities as assigned. Our studies will conclude with group projects focused on particular artists, works, and themes, or on the creation of original graphic narratives. Finally, while this is not a studio art course, we will experiment with drawing throughout the quarter as a way to develop an artist’s-eye view of comic art. Our goal is to develop an informed and critical perspective on this powerful medium.The faculty do not assume any previous experience with comic art in general or graphic narratives in particular. Fans, skeptics, artists, and the generally curious are all welcome, provided they are ready for sustained and serious work.		Steve Blakeslee Tom Maddox	Mon Tue Fri	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Image and Form: Myth, Ritual, and Story Susan Aurand and Evan Blackwell aesthetics art history cultural studies visual arts Signature Required: Winter	Program	FR–SRFreshmen - Senior	16	16	Day	F 11 Fall	W 12Winter			Throughout history, art has given physical form to our beliefs about our origins and nature, and to our efforts to correctly position ourselves in the cosmos. This program will examine how art embodies our cultural and individual myths, rituals and stories. We will study this historical function of art and explore it in our own lives through intensive studio work in painting and ceramics. In the fall, students will develop technical skills in painting (using watercolor, acrylics and oils), in sculptural ceramics, and in mixed media sculpture. Students will be introduced to a variety of ceramic construction processes, clay and glaze materials, firing processes, and use of studio equipment. The class will consider the characteristics and allusions of clay in all its states as a sculptural and expressive medium. Students will advance their technical skills through weekly skill workshops and assignments. In addition, each student will create a series of two-dimensional and/or three-dimensional artworks exploring a personal theme related to myth, ritual or story. In winter, the class will further develop and build on much of the work we started in the fall. We will continue to study myths, rituals and stories and examine how cultural context affects meaning in different forms of expression. Students will expand the conceptual basis of their work as they continue to explore and build skills in both painting and ceramics. Nonconventional approaches and methods of manufacture and installation in both painting and ceramic sculpture will be encouraged. Winter quarter will culminate with individual theme projects and presentation of student work. Students entering the program must have a solid background in representational drawing (including perspective, shading, and preferably some prior experience in figure drawing), but no prior experience in ceramics or painting is required. The program is designed for students who have a strong work ethic and self-discipline. The program will function as a working community of artists. Students will be expected to work intensively in the campus studios and to be engaged and supportive of their peers.	studio arts, arts education, art history, arts management, and writing for the arts.	Susan Aurand Evan Blackwell		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
In Our Image Lisa Sweet, Andrew Reece and Rita Pougiales anthropology art history community studies literature philosophy religious studies visual arts	Program	FR–SRFreshmen - Senior	16	16	Day	F 11 Fall	W 12Winter			Making meaning of our lives and the world we inhabit is the essence of being human. Through knowledge, stories and images, we manifest what it is we hold most sacred and essential in our lives. Religion, through its liturgy, music and imagery, reflects what a people hold to be essentially human. Our work will address questions like the following: What are the fundamental mysteries humans address through religious practice and expression? What are the stories being told through artistic and written material? What is the experience of the artist creating sacred images? What are the meanings that have endured over centuries? How is it that sacred images and texts provide direction for us? Our inquiry into meaning-making will center on Christianity, one religious tradition that has been a wellspring for expressions of spiritual and moral meaning, as well as a source of insight and understanding that has inspired magnificent artistic creations and sacred texts. In fall and winter, we focus on the first thirteen centuries of the tradition, from the life of Christ to the end of the Medieval period, during which the story of Christ's life, death and resurrection helped transform the Roman Empire into Europe and "the West." During this time, Christians, like Muslims and Jews a "people of the Book," gave the world some of its most inspired, and inspiring, books: the New Testament, the works of Anselm and Augustine, Dante's , and others, which will form part of our curriculum. The role of images in religious practice will form another part of our study. We'll consider the functions of icons, reliquaries, church architecture and devotional images, created solely to express and link us to the sacred. We'll consider the strategies image-makers employed to interpret scripture and early theology, as well as the anxieties and iconoclasms provoked by images that attempt to depict God. Through readings, seminars and lectures, we'll explore the history of images and objects made before the the concept of "Art" as we understand it today was established.In spring, the focus on the history and culture of Christianity through the 14th century will be directed toward more focused topics addressing meaning-making and Christianity. Students will have the option of continuing in the program in one of the following focused, full-time disciplines or themes: recent developments in theology and philosophy (Andrew), communities of faith (Rita), or studio-practice in printmaking (Lisa). Spring components of the program will be open to both continuing and newly enrolled students.	medieval history, religious studies, art history and community studies.	Lisa Sweet Andrew Reece Rita Pougiales		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
In Our Image: Printmaking Lisa Sweet art history religious studies visual arts	Program	FR–SRFreshmen - Senior	16	16	Day			S 12Spring		This program continues work from fall and winter. This quarter we will examine the production and function of printed images in early modern Christian religious culture through readings, seminars, and developing skills with basic woodcut printmaking techniques. Linking theory to our artistic practice, we’ll address issues including, iconoclasm, the relationship between text and images in religious practice, image makers’ roles as translators and interpreters of scripture and religious tradition, the human desire for and anxiety about religious imagery, and we’ll explore the paradox of visually depicting that which is invisible and inexpressible. Students should expect to spend about 70% of their time working in the printmaking studio on assignments, and 30% of their time studying assigned texts. The program will include a significant writing component synthesizing and integrating ideas covered in . Because this program is a continuation of the fall and winter themes addressed in , . New students are welcome, but should have some existing familiarity with academic studies of Christian theology, history and/or medieval art appreciation in order to thrive in the program.		Lisa Sweet	Mon Tue Thu Fri	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
In the Presence of Beauty Robert Knapp, Suzanne Simons and Helena Meyer-Knapp architecture cultural studies education history music visual arts	Program	FR–SRFreshmen - Senior	12, 16	12 16	Day, Evening and Weekend			S 12Spring		This program will explore the idea and the experience of beauty. Our thesis is that the sense of beauty has many facets, which different cultures recognize and value differently. Individual preferences also differ, always under the influence of powerful, shared traditions of beauty. We will dramatize and investigate this by paying extensive attention to three traditions in which the faculty have professional expertise—Iran, Japan and Britain. Significant differences between these traditions and between individual student and faculty experiences in the American context will be a major occasion of collaborative and individual learning.Most class meetings will put students in the presence of beautiful art, writing, film, architecture or music; readings and seminars in criticism and cultural history and analytical and expressive writing assignments will help students develop authentic ways to articulate their descriptions and judgments. The work will lead to a major concluding project on an individually chosen instance of beauty. Students will acquire both a fuller understanding of the variety of ways one can encounter beauty, and of ways to document, appreciate and evaluate the experiences of beauty that occur.The program has two levels of enrollment: all students will meet one night per week and every Saturday for a coordinated program of lectures, seminars, films and workshops. 16-unit students will also prepare for and take two two-day visits to cultural cultural resources in Northwest cities, to be in the immediate presence of beautiful things which can come only second-hand to campus.	design, art history, cultural studies, education, world history, architecture and visual arts.	Robert Knapp Suzanne Simons Helena Meyer-Knapp	Wed Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Individual Study: Expressive Arts Andrew Buchman cultural studies dance music theater visual arts Signature Required: Winter	Contract	SO–SRSophomore - Senior	16	16	Day		W 12Winter			Please send me a preliminary proposal via email and I'll help you shape it. I often recommend projects that combine some research (on an artist or style) with some creative work (a thematic portfolio or series of songs), with some technical practice (on an instrument or in a medium or style). Internships and travel/study projects are also welcome. I'm especially interested in students who work in more than one artistic discipline intensively; for instance, music and visual art. Drafting academic statements and investigating careers--vital parts of designing your own education--can also be credit-bearing activities.		Andrew Buchman		Sophomore SO Junior JR Senior SR	Winter	Winter
Individual Study: Fiber Arts, Non-Western Art History, Native American Art, Creative Writing Gail Tremblay Native American studies art history cultural studies visual arts writing Signature Required: Spring	Contract	SO–SRSophomore - Senior	16	16	Day			S 12Spring		In the fields listed, Gail Tremblay offers opportunities for intermediate and advanced students to create their own course of study, creative practice and research, including internships, community service and study abroad options. Prior to the beginning of the quarter, interested individual students or small groups of students must describe the work to be completed in an Individual Learning or Internship Contract. The faculty sponsor will support students wishing to do work that has 1) skills that the student wishes to learn, 2) a question to be answered, 3) a connection with others who have mastered a particular skill or asked a similar or related question, and 4) an outcome that matters. Areas of study other than those listed above will be considered on a case-by-case basis.	the arts, art history, literature and creative writing, especially poetry, and the humanities.	Gail Tremblay		Sophomore SO Junior JR Senior SR	Spring	Spring
Individual Study: Interdisciplinary and Consciousness Studies Ariel Goldberger aesthetics art history community studies consciousness studies cultural studies media arts queer studies somatic studies study abroad theater visual arts 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
Individual Study: Queer Studies, Performance Walter Grodzik American studies aesthetics anthropology architecture communications community studies consciousness studies cultural studies dance education field studies gender and women's studies literature media arts media studies moving image music queer studies somatic studies study abroad theater visual arts writing 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
Individual Study: Travel, Interdisciplinary Projects, Arts, and Humanities Ariel Goldberger aesthetics art history community studies consciousness studies cultural studies field studies media arts queer studies somatic studies study abroad theater visual arts 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
Literary and Cinematic Storytelling Eddy Brown and Marilyn Freeman cultural studies literature media arts moving image visual arts writing	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
Marketing Authenticity: Craft, Commodity and Culture Tom Womeldorff, Alice Nelson and Jean Mandeberg cultural studies economics literature visual arts	Program	FR–SRFreshmen - Senior	16	16	Day			S 12Spring		A tourist travels from the United States to a folk festival in the Andean highlands and decides to buy a tapestry from an indigenous woman. What, exactly, is being bought and sold? From the buyer's perspective, perhaps the object serves as a memento of the trip or offers functionality as décor back home, or perhaps it represents something else: a sense of connection with the "other" a way to "help" a person in need, an "authentic" representation of a seemingly timeless culture. From the seller's perspective, the object may well express a craft tradition, often adapted to the demands of the tourist market, a way to make a living or to serve some other purpose. Whatever the case, both the buyer and the seller are enmeshed in contexts larger than themselves as individuals: cultural belief systems shaping their viewpoints and values (moral, political, and aesthetic), global capitalist pressures, and the legacies of colonialism. We will explore the intersections of cultural studies, economics, and the arts, focusing on various cases of craft production, their connections to systems of power, and the ways competing notions of "authenticity" are expressed in them. We will examine the factors shaping artistic production in each case: who or what decides the form a given craft may take, its relationship to "tradition" and who profits from its sales. We will look at the larger economic contexts shaping arts and crafts globally, such as the rise of mass-produced craft replicas and the lack of access to alternative forms of development. We will explore the links between craft and story, including the ways that literary and film representations raise pointed questions about cultural expectations and intercultural exchange. During the quarter, we will undertake two or three small projects connecting the theory and practice of aesthetic design to marketing within specific cultural contexts. Ultimately, we will ask: given all the challenges, how might specific groups use art and craftsmanship to improve their own lives?	the arts, business, cultural studies, economics and international studies.	Tom Womeldorff Alice Nelson Jean Mandeberg		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Marvelous Machines (Metal): Building Leonardo's Inventions Bob Woods visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening				Su 12Summer Session I	Artist, anatomist, architect, and engineer, Leonardo da Vinci is considered the embodiment of the Renaissance Man. Though best known as a painter, the bulk of his work was devoted to imagining and engineering complex machines made of wood and metal. Students in this course and the complimentary course will engage in the study and construction of one or more of those marvelous machines. In this course focusing on metal, students can expect to learn basic processes of metal fabrication.		Bob Woods	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Marvelous Machines (Wood): Building Leonardo's Inventions Daryl Morgan visual arts	Program	FR–SRFreshmen - Senior	4, 8	04 08	Evening				Su 12Summer Full	Artist, anatomist, architect, and engineer, Leonardo da Vinci is considered the embodiment of the Renaissance Man. Though best known as a painter, the bulk of his work was devoted to imagining and engineering complex machines made of wood and metal. Students in this course and the complimentary course will engage in the study and construction of one or more of those marvelous machines. In this course focusing on wood, students can expect to learn basic processes of design and fabrication in wood.		Daryl Morgan	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Masquerade and Metaphor Ann Storey and Joli Sandoz art history gender and women's studies literature visual arts	Program	SO–SRSophomore - Senior	8	08	Evening		W 12Winter			Using masquerade as our primary metaphor, we will take an in-depth, interdisciplinary, and multicultural approach to the study of 20th-century history, art, and literary writing by women. Cultures construct gender expectations, in part through “scripts” of femininity in ways that serve a myriad of purposes; where people identifying as girls and women reject those preconceptions but also act within them, masquerade – the adoption of pretense or disguise – becomes an inevitable part of female lives.Our work will center on studying women’s creative expression in both art and literature. We will also work with the medium of collage, make masks and use them in performance art pieces, and design and play gender-themed board games in class. The final project will be a research paper and presentation.Guiding questions: How have people identifying as girls and women expressed, defied, and transformed constructions of femininity through their art and writing? What role does masquerade play not only in women’s survival, but their flourishing? How does women’s resistance help us transform ourselves?	fine arts, education, writing, history, sociology, museum work	Ann Storey Joli Sandoz	Tue Thu	Sophomore SO Junior JR Senior SR	Winter	Winter
The Medieval Book Nancy Bishop art history history visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening				Su 12Summer Session II	The focus of this course is the medieval manuscript and its relationship to medieval culture. Using a broadly chronological framework, we will examine different types of books produced in Europe in the Middle Ages, from Gospel books to secular romances. This study will include the text, decoration, context, and the physical book itself including some paleography and/or calligraphy. A basic understanding of history and art would be sufficient preparation. Knowledge of Latin would be helpful but is not required.Readings from reserve materials will be assigned, and it is expected that students will come to class prepared. Attendance, class participation, and mastery of concepts and vocabulary will be the basis for student evaluation.Course Goals:		Nancy Bishop	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Metal Casting Bob Woods visual arts	Course	FR–SRFreshmen - Senior	4	04	Day				Su 12Summer Session I	In this program, participants will learn about the production of sculpture as well as everyday objects through the process of casting. Students will design and construct models in plaster, clay, and wax. We will experience the process of sand casting in aluminum. We will do plaster molding, wax fabrication, and investing for (the ultimate) lost wax casting in bronze. After the work of de-gating and chasing, we will experiment with various patina applications for final presentation. This is a process-intensive studio class where we turn ideas into bronze. Beginners are welcome.		Bob Woods	Wed Fri	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Metalworking Bob Woods visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening		W 12Winter			This course is an introduction to the tools and processes of metal fabrication. Students will practice sheet-metal construction, forming, forging, and welding, among other techniques, while accomplishing a series of projects that encourage student-centered design.		Bob Woods	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Metalworking Bob Woods visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening			S 12Spring		This course is an introduction to the tools and processes of metal fabrication. Students will practice sheet-metal construction, forming, forging, and welding, among other techniques, while accomplishing a series of projects that encourage student-centered design.		Bob Woods	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Metalworking (A) Bob Woods visual arts	Course	FR–SOFreshmen - Sophomore	4	04	Evening	F 11 Fall				This course is an introduction to the tools and processes of metal fabrication. Students will practice sheet-metal construction, forming, forging, and welding, among other techniques, while accomplishing a series of projects that encourage student-centered design.		Bob Woods	Tue	Freshmen FR Sophomore SO	Fall	Fall
Metalworking (B) Bob Woods visual arts	Course	JR–SRJunior - Senior	4	04	Evening	F 11 Fall				This course is an introduction to the tools and processes of metal fabrication. Students will practice sheet-metal construction, forming, forging, and welding, among other techniques, while accomplishing a series of projects that encourage student-centered design.		Bob Woods	Thu	Junior JR Senior SR	Fall	Fall
Museum or Mausoleum? The Framing of Art, Culture and Neuroplasticity Lara Evans and Sarah Williams Native American studies anthropology art history consciousness studies cultural studies field studies gender and women's studies literature media arts media studies somatic studies visual arts 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
Neon: Shaping Light (1st session) Douglas Hitch visual arts	Course	FR–SRFreshmen - Senior	4	04	Day				Su 12Summer Session I	This course introduces students to the basic skills in the fabrication of neon. Each student will learn to heat, bend, weld, and anneal glass tubing using a ribbon burner, cannon fire, and tipping torch. Students will learn the bending process for the four basic bends. Students will learn to blow bubbles and make twists in glass tubes. They will use these techniques to fabricate a self contained PVC tube-based lighting project while learning to safely attach and handle high-voltage transformers to energize their neon project.This class runs for two weeks during first session. A second section of the same class is available for two weeks in second session.		Douglas Hitch	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Neon: Shaping Light (2nd session) Douglas Hitch visual arts	Course	FR–SRFreshmen - Senior	4	04	Day				Su 12Summer Session II	This course introduces students to the basic skills in the fabrication of neon. Each student will learn to heat, bend, weld, and anneal glass tubing using a ribbon burner, cannon fire, and tipping torch. Students will learn the bending process for the four basic bends. Students will learn to blow bubbles and make twists in glass tubes. They will use these techniques to fabricate a self contained PVC tube-based lighting project while learning to safely attach and handle high-voltage transformers to energize their neon project.This class runs for two weeks during second session. Another section of the same class is available for two weeks in first session.		Douglas Hitch	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Neon: Shaping Light (A) Douglas Hitch visual arts	Course	JR–SRJunior - Senior	2	02	Day			S 12Spring		This course introduces students to the basic skills in the fabrication of neon. Each student will learn to heat, bend, weld, and anneal glass tubing using a ribbon burner, cannon fire, and tipping torch. Students will learn the bending process for the four basic bends: 90 degree right angle, double back, "U" and "O" loop. Students will learn to blow bubbles in a tube. They will use these techniques to fabricate several creations of their own design. Students will be guided through the processes of bombarding and wiring of their individual projects to safely attach and handle high-voltage transformers to energize their neon. Instruction in the mounting and display of the neon projects concludes the course. Section A is for juniors and seniors. Section B is for freshmen and sophomores.		Douglas Hitch	Fri	Junior JR Senior SR	Spring	Spring
Neon: Shaping Light (A) Douglas Hitch visual arts	Course	JR–SRJunior - Senior	2	02	Day		W 12Winter			This course introduces students to the basic skills in the fabrication of neon. Each student will learn to heat, bend, weld, and anneal glass tubing using a ribbon burner, cannon fire, and tipping torch. Students will learn the bending process for the four basic bends: 90 degree right angle, double back, "U" and "O" loop. Students will learn to blow bubbles in a tube. They will use these techniques to fabricate several creations of their own design. Students will be guided through the processes of bombarding and wiring of their individual projects to safely attach and handle high-voltage transformers to energize their neon. Instruction in the mounting and display of the neon projects concludes the course. Section A is for juniors and seniors. Section B is for freshmen and sophomores.		Douglas Hitch	Fri	Junior JR Senior SR	Winter	Winter
Neon: Shaping Light (B) Douglas Hitch visual arts	Course	FR–SOFreshmen - Sophomore	2	02	Day			S 12Spring		This course introduces students to the basic skills in the fabrication of neon. Each student will learn to heat, bend, weld, and anneal glass tubing using a ribbon burner, cannon fire, and tipping torch. Students will learn the bending process for the four basic bends: 90 degree right angle, double back, "U" and "O" loop. Students will learn to blow bubbles in a tube. They will use these techniques to fabricate several creations of their own design. Students will be guided through the processes of bombarding and wiring of their individual projects to safely attach and handle high-voltage transformers to energize their neon. Instruction in the mounting and display of the neon projects concludes the course. Section A is for juniors and seniors. Section B is for freshmen and sophomores.		Douglas Hitch	Fri	Freshmen FR Sophomore SO	Spring	Spring
Neon: Shaping Light (B) Douglas Hitch visual arts	Course	FR–SOFreshmen - Sophomore	2	02	Day		W 12Winter			This course introduces students to the basic skills in the fabrication of neon. Each student will learn to heat, bend, weld, and anneal glass tubing using a ribbon burner, cannon fire, and tipping torch. Students will learn the bending process for the four basic bends: 90 degree right angle, double back, "U" and "O" loop. Students will learn to blow bubbles in a tube. They will use these techniques to fabricate several creations of their own design. Students will be guided through the processes of bombarding and wiring of their individual projects to safely attach and handle high-voltage transformers to energize their neon. Instruction in the mounting and display of the neon projects concludes the course. Section A is for juniors and seniors. Section B is for freshmen and sophomores.		Douglas Hitch	Fri	Freshmen FR Sophomore SO	Winter	Winter
Photography: Advanced Projects Steve Davis communications media arts visual arts 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
Photography, Beginning Hugh Lentz media arts visual arts	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
Photography, Beginning Steve Davis media arts visual arts	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
Photography, Beginning Color Hugh Lentz visual arts	Program	FR–SRFreshmen - Senior	8	08	Day				Su 12Summer Session I	In this beginning color photography class, we'll emphasize skill development in camera function, film exposure, and working in a darkroom learning to print from color negatives. We’ll have workshops in color darkroom mechanics and metering for ambient light and electronic flash. Using assignments, critiques, and slide viewing of historical and contemporary artists, students will develop the tools to pursue their own projects. In addition, students can continue to pursue their work through independent study or as part of a group contract for the second session.		Hugh Lentz	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Photography, Color and Lighting Hugh Lentz media arts visual arts 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
Photography, Digital Steve Davis media arts visual arts 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
Photography, Introduction to Digital Steve Davis media arts visual arts	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
Photography Techniques Hugh Lentz media arts visual arts 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
Printmaking: Intaglio Techniques Judith Baumann visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening	F 11 Fall				The art of incising lines and printing from copper plates dates back to the early 1400s. Students will learn to create rich, tonal, vibrant images using traditional techniques honed over the centuries. Monotypes, drypoint, engraving, etching, aquatint, stage biting, chine collé and a la poupée methods, and multiple-plate printing will be demonstrated throughout the quarter. Students will work toward developing a technical portfolio highlighting both craft and concept. Basic drawing skills are recommended.		Judith Baumann	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Printmaking: Introduction to Serigraphy Judith Baumann visual arts	Course	FR–SRFreshmen - Senior	4	04	Day				Su 12Summer Session I	This course is an introduction to the fine art of serigraphy or screen-printing. Working only on paper, students will learn to create both hand-drawn and computer generated stencils for use with photoemulsion-based printing techniques. Students will work toward developing a conceptual body of work with an emphasis on professional editioning practices. A final portfolio of student work is due upon completion of the course.		Judith Baumann	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Printmaking: Letterpress and Artists' Books Judith Baumann visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening			S 12Spring		This course will focus on the history of typography and the study of typesetting and letterpress within a contemporary book-arts context. Students will learn how to hand set and handle 50 - 100 year-old type, how to properly print and proof blocks of text using Vandercook and Platen Presses, and how to use color theory principles in their work. In addition, students will learn basic bookmaking techniques and begin to integrate letterpress into artists' books. Students are expected to work outside of class time approximately six hours a week in order to complete all coursework.		Judith Baumann	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Printmaking: Photo-Based Processes Judith Baumann visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening		W 12Winter			Traditional printmaking processes and photographic techniques combine in this comprehensive overview of photo-based intaglio, serigraphy, and photolithography. Using computer-generated, digital positives as films, students will prepare and expose light-sensitive copper plates, screens, and aluminum plates to create distinctive hand-printed imagery. Throughout the course, students will also study the history and contemporary applications of the medium. While introductory, this course is highly process-based and technical in nature. Students are expected to have prior digital image editing experience. Experience in printmaking and/or photography would also be beneficial.		Judith Baumann	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Radical Amazement: Interrogating Everyday Experience through Poetry and Video Essay Donald Foran and Marilyn Freeman literature media arts moving image visual arts writing	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
Recycled Bikes Bob Woods visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening			S 12Spring		Students will resurrect junkyard bikes and transform them into alternative ideas of pedal powered transport. While researching design sources and experiencing take-a-part mechanics, participants will practice appropriate fundamentals of bicycle cut and fit fabrication through the construction of a simple Kick Bike. Using this experience, each person will then build a bike-ish design of their choice and ride in parade at quarter’s end.		Bob Woods	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
River Reciprocity Lucia Harrison ecology environmental studies natural history visual arts	Program	FR–SRFreshmen - Senior	16	16	Day			S 12Spring		The study of stream ecology and visual art will provide the framework and tools to examine, observe, record, and know a place. We will explore the role of art and science in helping people develop a deep and reciprocal relationship with a watershed. Designed for beginning students in art and ecology, we will study the characteristics of local streams and make drawings that are inspired by a connection to a specific stream. The Nisqually River Watershed will be the focus for our collective work while the numerous local streams will serve as individual focal points for student projects throughout the quarter.Through reading, lectures and field study, students will learn the history of the watershed, study concepts in stream ecology, learn to identify native plants in the watershed and learn about current conservation efforts. They will develop beginning drawing skills and practice techniques for keeping an illustrated field journal. Students will work in charcoal, chalk pastel, watercolor, and colored pencil. Students will explore strategies for using notes and sketches to inspire more finished artworks. Students will study artists whose work is inspired by their deep connection to a place. Each student will visit a local stream regularly, keep a field journal, and in the second half of the quarter, students will create a series of artworks or an environmental education project that gives something back to their watershed.		Lucia Harrison		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Roji: Japanese Design I, II Daryl Morgan visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening		W 12Winter	S 12Spring		The Tea House () and the Tea Garden () that surrounds it form a single entity. Modest in size and scale, intentionally simple and rustic, they nonetheless employ abstract concepts of form, space, pattern, harmony, and order in such a way as to create a place which transcends the ordinary world. Students enrolled in this two-quarter course will develop a master plan for such a place, a proposed Japanese Tea Garden and Tea House to be built on the campus of The Evergreen State College. The project will require planning not only for the garden and tea house, but for a number of additional structures including gates, pathways, benches, bridges, and walls/fences typically found in a 17th century Zen garden. Students in the course will directly engage the entire planning, design, and schedule-development process, from initial drafting of a scope statement through site analysis and selection, conceptual garden and structures design, materials analysis and acquisition, function of specifications, construction planning and scheduling, and formal planning approval.		Daryl Morgan	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter Spring
Student-Originated Studies: Art, Culture, Education, and Human Development Hirsh Diamant education religious studies visual arts	SOS	SO–SRSophomore - Senior	V	V	Evening and Weekend			S 12Spring		This SOS is ideal for students who want to deepen their studies in art, culture, education, and human development and to apply these studies in the community. In the first week of the quarter, each student will submit, on-line, their project proposal as an individual study contract (via my.evergreen.edu) and then complete that project during the quarter. This proposal will be designed with input from the faculty member.All students enrolled in the program will also participate in two credits of readings, classes and on-line assignments in collaboration with other students. A weekly class meeting will include seminars, workshops organized by staff, faculty, and students, and opportunities to share learning and project work. Weekly on-line posts will highlight students' progress and learning. Students must attend and participate in all weekly sessions.		Hirsh Diamant	Wed	Sophomore SO Junior JR Senior SR	Spring	Spring
Student-Originated Studies: Performing Arts Kabby Mitchell cultural studies dance media arts media studies music theater visual arts	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
Student-Originated Studies: Visual and Critical Studies in the Arts Evan Blackwell aesthetics art history education visual arts Signature Required: Spring	SOS	SR ONLYSenior Only	16	16	Day			S 12Spring		This program is designed for seniors who are ready for concentrated studies pertaining to the visual arts and visual culture. Students will work closely with faculty and each other to design their own visual art projects as well as related research. The group will meet together weekly for student lectures on research topics, guest artist talks and critiques. Beyond art making and critical studies, this program will provide opportunities for intensive professional development related to the visual arts.	visual arts, museum studies, arts administration, public art, arts organizations, art education and design.	Evan Blackwell		Senior SR	Spring	Spring
Student-Originated Studies: Visual Arts Shaw Osha (Flores) aesthetics art history visual arts Signature Required: Fall Winter	SOS	JR–SRJunior - Senior	16	16	Day	F 11 Fall	W 12Winter			This is an intensive full-time, two-quarter program designed for students ready for intermediate to advanced work in theory and practice in the visual arts. Students should be ready to work independently in the studio and in their research, but must also be interested in the learning community that a classroom provides. The academic content, lectures, and instruction are a collaboration between the faculty and the students enrolled. Credits are earned through your project and research related to your project and program activities such as seminars, the Artist Lecture Series, field trips, and research presentations.Students will design their own projects including proposed materials and theoretical research, they will write papers, share their research through presentations, work intensively in the studio together, produce a significant thematic body of work, and participate in demanding critiques.Expect to work on program assignments 20 - 30 hours per week outside of class meetings.In the fall, students will begin working on their proposed projects with the understanding that the outcome is not an a priori deal but will come through the process of experimenting and taking risks both materially and intellectually. In winter, students will seminar on art history readings, research and write weekly synthesis papers, work intensively in the studio together, attend the Artist Lecture Series, participate in demanding critiques, and produce a significant thematic body of work for a final exhibition and artist talk.	visual art, education, art history, museum studies, aesthetics and humanities.	Shaw Osha (Flores)		Junior JR Senior SR	Fall	Fall Winter
Student-Originated Studies: Visual Arts Joe Feddersen aesthetics art history visual arts Signature Required: Spring	SOS	JR–SRJunior - Senior	16	16	Day			S 12Spring		This is an intensive full-time, one-quarter program designed for students ready for intermediate to advanced work in theory and practice in the visual arts. Students should be ready to work independently in the studio and in their research, but must also be interested in the learning community of a classroom. The academic content, lectures, and instruction are collaborations between the faculty and the students enrolled. Credits are earned through your project and research related to your project and program activities such as seminars, the , field trips, and research presentations. Students will work intensively on their proposed projects. They will produce a solid body of work, write papers, present their research to the program, work intensively in the studio together, produce a solid body of work, and participate in critiques. They should expect to work 20 - 30 hours per week outside of class meetings.		Joe Feddersen		Junior JR Senior SR	Spring	Spring
Taking Things Apart: A Scientific and Artistic Exploration Bob Haft and Donald Morisato biology literature philosophy of science visual arts Signature Required: Winter	Program	FR–SRFreshmen - Senior	16	16	Day	F 11 Fall	W 12Winter			Both science and art take things apart. In some instances--like the evisceration of a frog or an overly-analytical critique of a poem --the process can result in the loss of the vital force. In the best scenario, carefully isolating and understanding individual parts actually reconstitutes the original object of study, bringing appreciation for the whole that is greater than the parts. Sometimes taking things apart results in a paradigm shift: suddenly, the ordinary becomes extraordinary.In one strand of this program, we will use a biologist's tool kit to explore how living organisms function. We will learn how biology takes apart and studies life in different ways. In fall, we will focus on visual perception, beginning with anatomy, proceeding onto the logic of visual processing, and concluding with an examination of the specialized neurons and molecules involved in phototransduction. In winter quarter, we will play with the idea of mutation, exploring how genetics can be used to dissect complex processes, in addition to providing an entry point for the molecular understanding of inheritance at the level of DNA.Another strand takes visual art as its point of departure. Here, we will combine what we learn about the anatomy and physiology of the eye with a study of how to use sight to apprehend and appreciate the world around us. We will work with different tools--charcoal pencils and camera, for example--both to take things apart, and to construct new things. During fall quarter, we will learn the basics of drawing. In winter, we will switch to using black-and-white photography as a means of studying life at a more macroscopic level than in the biology lab. Ultimately, our goal here is the same as that of the scientist: to reconstitute and reanimate the world around us.There are ideas for which literature provides a more sophisticated and satisfying approach than either science or the visual arts. Thus, in a third strand, we will examine how literature depicts and takes apart the emotional and behavioral interactions that we call "love." Authors that we may read include Shakespeare, Stendhal, Henry James, Virginia Woolf, James Baldwin, John Berger, Haruki Murakami and Louise Gluck.Our goal is to weave these strands together, to produce an understanding about the world that is informed by both cognition and intuition. Throughout our inquiry, we will be investigating the philosophical issue of objectivity. This is a rigorous program that will involve lectures, workshops, seminars, studio art and laboratory science work. Student learning will be assessed by weekly seminar writing assignments, lab reports, art portfolios and exams.	biology, visual arts, sciences and the humanities.	Bob Haft Donald Morisato		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Therapy Through the Arts Gilda Sheppard and Carl Waluconis psychology visual arts	Program	FR–SRFreshmen - Senior	8, 16	08 16	Day and Evening				Su 12Summer Full	The course explores the role that movement, visual art, music, writing, and media play in problem-solving and the resolution of internalized fear, conflicts, or blocks. Through hands-on activities, field trips, readings films/video, writing, and guest speakers, students discover sources of imagery as tools to awaken creative problem solving from two perspectives: creator and viewer. Students interested in human services, media, and education will find this course engaging. There are no prerequisite art classes or training required, and students can enroll in the course a second time. (Equivalencies and content will be enhanced for returning students.)Students may attend either day or evening sessions. 40137 (16 credits, full session), 40138 (8 credits, first session), 40139 (8 credits, second session) 40140 (16 credits, full session), 40141 (8 credits, first session), 40142 (8 credits, second session)		Gilda Sheppard Carl Waluconis	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Thinking Through Craft: Metal Jean Mandeberg visual arts Signature Required: Winter	Program	SO–SRSophomore - Senior	16	16	Day	F 11 Fall	W 12Winter			What if we acknowledge the recent historical status of craft as "inferior" to fine art and then seek out the potential of that unique vantage point? What if contemporary craft is used as a subversive strategy to question issues such as function, materiality, skill, and the role of the amateur in our culture? The direction of this program is based on Glenn Adamson's book of the same title, a text that treats craft as an idea that transcends discipline. Students in this program will be working side by side with woodworkers in the program Thinking Through Craft: Wood. There will be collaborative assignments and joint seminars, as well as separate lectures, studio and design assignments. What if fine metalworking is seen as a particularly effective way of challenging ideas about such things as personal security, architectural ornamentation and family identity? This program will explore questions and skills through a studio practice in fine metalworking and mixed media. Studio work will focus on the use of non ferrous metals (copper, brass, bronze, sterling silver) as well as a wide variety of mixed materials and found objects, all able to be formed, joined, finished and re-defined using the well equipped fine metals studio facility on campus. The tools, materials and rich history of fine metalworking will provide a backdrop for appreciating this studio practice and moving it forward. Readings may include: , Glenn Adamson; , Gaston Bachelard; , George Kubler; , Sandra Alfondy. Many visual artists today are interested in the meaning of workmanship and the physical experience of manipulating and interacting with three-dimensional forms. This program will be an opportunity to participate in the redefinition of craft. Eschewing the well-worn "craft vs. art" arguments, we hope to investigate the potential of craft as a vital subject in contemporary art and design.	the arts and humanities.	Jean Mandeberg		Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Thinking Through Craft: Wood Robert Leverich visual arts Signature Required: Winter	Program	SO–SRSophomore - Senior	16	16	Day	F 11 Fall	W 12Winter			What if we acknowledge the recent historical status of craft as "inferior" to fine art and then seek out the potential of that unique vantage point? What if contemporary craft is used as a subversive strategy to question issues such as function, materiality, skill, and the role of the amateur in our culture? The direction of this program is based on Glenn Adamson's book of the same title, a text that treats craft as an idea that transcends discipline. Students in this program will be working side by side with metal workers in the program Thinking Through Craft: Metal. There will be collaborative assignments and joint seminars, as well as separate lectures, studio and design assignments.Fine woodworking readily addresses issues of function, structure, ornament and comfort, but might be particularly effective at challenging ideas about such things as power and personal space, privileged resources, the uses of discomfort, or the limits of utility. This program will explore questions and skills through a studio practice in fine woodworking and mixed media. Studio work will focus on the use of wood, wood composites and substitutes, as well as a wide variety of mixed and recycled materials and found objects, all able to be formed, joined, finished and re-defined using the well equipped wood studio facility on campus. The tools, materials and rich history of woodworking will provide a backdrop for both appreciating this studio practice and moving it forward. Readings may include: , Glenn Adamson; , Gaston Bachelard; , George Kubler; , Sandra Alfondy; , Galen Cranz. Many visual artists today are interested in the meaning of workmanship and the physical experience of manipulating and interacting with three-dimensional forms. This program will be an opportunity to participate in the redefinition of craft today. Eschewing the well-worn "craft vs. art" arguments, we hope to investigate the potential of craft as a vital subject in contemporary art and design.	arts and humanities, craft studies, woodworking and furniture design.	Robert Leverich		Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Universal Themes in Art, Literature, and Life Donald Foran and Patt Blue literature visual arts writing Signature Required: Winter	Program	FR–SRFreshmen - Senior	16	16	Day	F 11 Fall	W 12Winter			How do universal themes inform our actions and our work as writers and photographers? As artists, photographers, and writers become better at capturing the unique particularities they discover in life through their craft, they increasingly articulate common themes. The combined study of universal themes, literature and photography provides an opportunity to explore the differences, similarities, and intersections. Throughout this rigorous program, we will examine universal themes expressed in classic literature through reading, writing, and discussion. Literary texts in fall quarter include by Herman Melville, by Joseph Conrad, several Raymond Carver stories. Guest writers include Paul Lindholdt and Carolyne Wright. Analytic and creative writing assignments run through the quarter Photography readings include by Roland Barthes, and by James Agee and Walker Evans. Slides and videos of artists Duane Michals, Richard Avedon, Robert Frank, Diane Arbus, Shelby Lee Adams and others will be shown and discussed in conjunction with visual assignments. In winter, individual photography and writing projects will be a major emphasis. Our focus is to equip participants with the visual literacy to develop a signature style and analytical and creative writing skills. To this end, we’ll read stories, poems, one play, , and one novel, . After analysis we will write our own stories, poems, and possibly dramatic scenes. In photography, we’ll be exposed to the work of Dave Heath, Nan Goldin, Clarissa Sligh, Christian Boltanski, Sophie Calle, and David Wojnarowicz. Program participants will journey to Seattle for exhibitions at the Northwest Photography Center and other galleries.It is challenging to chart the intersection of art and life, but this program goes a long way toward doing so.	visual arts, education, literary arts, and all fields which benefit from careful analysis and effective communication.	Donald Foran Patt Blue		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
The Video Essay Anne de Marcken (Forbes) literature media arts moving image visual arts writing	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
Visual Literacies Hirsh Diamant education media arts visual arts	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
The Women's West Ann Storey and Joli Sandoz art history gender and women's studies literature visual arts	Program	SO–SRSophomore - Senior	8	08	Evening			S 12Spring		Western women's experience is as varied as the cultures it supports. Engaging with history, writing, and art from a variety of cultural perspectives, we'll look beyond the mythical (and male) West of the pioneer, cowboy, miner, and logger to the many Wests women have lived and imagined. Ultimately, creative work by Western women has expanded U.S. critical and aesthetic discourses with new ideas, methods, and perspectives. Guiding questions: What does the modern West look like to feminist artists and writers? How does contemporary women's creativity transform the "myth of the West"?	fine arts, education, writing, history, sociology, museum work	Ann Storey Joli Sandoz	Tue Thu	Sophomore SO Junior JR Senior SR	Spring	Spring
Woodworking Daryl Morgan visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening			S 12Spring		There is a sense of personal satisfaction and creative accomplishment to be gained from working with wood. The aim of this course is to provide a way to realize that intention through an understanding of the basic principles of designing in wood, the physical properties of the material, and the fundamental skills necessary to shape timber to a purpose.		Daryl Morgan	Mon	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Woodworking Daryl Morgan visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening		W 12Winter			There is a sense of personal satisfaction and creative accomplishment to be gained from working with wood. The aim of this course is to provide a way to realize that intention through an understanding of the basic principles of designing in wood, the physical properties of the material, and the fundamental skills necessary to shape timber to a purpose.		Daryl Morgan	Mon	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Woodworking (A) Daryl Morgan visual arts	Course	FR–SOFreshmen - Sophomore	4	04	Evening	F 11 Fall				There is a sense of personal satisfaction and creative accomplishment to be gained from working with wood. The aim of this course is to provide a way to realize that intention through an understanding of the basic principles of designing in wood, the physical properties of the material, and the fundamental skills necessary to shape timber to a purpose.		Daryl Morgan	Mon	Freshmen FR Sophomore SO	Fall	Fall
Woodworking (B) Daryl Morgan visual arts	Course	JR–SRJunior - Senior	4	04	Evening	F 11 Fall				There is a sense of personal satisfaction and creative accomplishment to be gained from working with wood. The aim of this course is to provide a way to realize that intention through an understanding of the basic principles of designing in wood, the physical properties of the material, and the fundamental skills necessary to shape timber to a purpose.		Daryl Morgan	Tue	Junior JR Senior SR	Fall	Fall

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