2012-13 Catalog

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2012-13 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
Trevor Speller and Anthony Tindill
  Program SO–SRSophomore - Senior 16 16 Day F 12 Fall W 13Winter In 1748, Horace Walpole purchased an estate in London. Over the next thirty years he converted that estate into a Gothic castle and planned "ruins." In 1765, Walpole wrote a novel widely regarded as the first true work of Gothic fiction. In an age of reason, Walpole's focus on the supernatural, feudal ruins and high passion pulled a medieval past into the order of the day, transforming it to meet the desires of a modern public both in print and in stone. From its beginnings, Gothic fiction shared a common link and a common bond with architecture. For generations before Walpole, the architecture of the Gothic period was the equivalent of history books and literature. Architectural historian Jonathan Glancey writes, "The Architecture of the great medieval Gothic cathedrals is one of the glories of European civilization. Here was an attempt to lift everyday life up to the heavens--to touch the face of God--using the highest stone vaults, the highest towers, the most glorious steeples permitted by contemporary technology...it led to some of the most inspiring and daring buildings of all time." Though not written in actual words, Gothic architecture is written in structural form and religious allegory.We will ask ourselves:We will investigate examples of Gothic literature and architecture in Europe and the Americas from the twelfth century to the present, as well as the history, theory and interrelationship of these artistic modes. Students will be asked to attend lectures and seminars, write papers, take examinations, and develop work in studio that may include drawing, model-building and writing. In addition, students will visit examples of Gothic architecture in concert with their readings. Architectural texts may include: by Roland Recht, by John Fichen, and by Nicola Coldstream. Fictional texts may include texts from the medieval period to the present, including , and stories by Edgar Allen Poe, H.P. Lovecraft, Angela Carter and Joyce Carol Oates. literary studies and architecture. Trevor Speller Anthony Tindill Sophomore SO Junior JR Senior SR Fall Fall Winter
Jennifer Gerend and Anthony Tindill
  Program FR–SOFreshmen - Sophomore 16 16 Day S 13Spring In this program we consider the beloved urban spaces where people come to stroll, browse shops and restaurants, push a child in a stroller or walk a dog. In these places we meet friends, hold community festivals and more solemn events. Some spaces are always bustling, while others are largely avoided. Design plays a major part. What regulations guide the design of a space, and who is involved in the design process? How can communities participate? How are historically significant sites considered, and what is “worthy” of preservation? We will explore urban design principles and their application (or lack thereof) in communities throughout the Northwest and on our own campus.Students will gain an introduction to the fields of architecture, urban planning and historic preservation through the shared focus on urban design. We will read influential texts, examine images, and visit places with a critical eye on the individual components that comprise an urban setting.We will engage in careful readings of the texts, seminar discussion, case studies, writing assignments, and field trips. In studio workshop time, students will have an opportunity to explore design thinking and urban design principles in a theoretical design project. Jennifer Gerend Anthony Tindill Freshmen FR Sophomore SO Spring Spring
Walter Grodzik
Signature Required: Fall 
  Contract SO–SRSophomore - Senior 16 16 Day F 12 Fall 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 Fall Fall
Daryl Morgan
  Program FR–SRFreshmen - Senior 4, 8 04 08 Evening Su 13Summer Full As human beings, we inhabit made environments which inhabit territory that is apparently bounded on the one side by technology and on the other by art.  These environments are the result of ideas that have been initiated, designs that have been authored, projects that have been planned, and tools and machines that have been developed in order to alter materials to our purpose.  This program will explore that perceived boundary, asking questions about the nature of craftsmanship, the dynamics of technological innovation, the difference between tools and machines, and about what it means to "dwell."  This will be a hands-on learning experience engaging students directly and intensively in the practice of ancient skills, the operation of technologies from medieval to modern, and in the mechanics of innovation and invention. Daryl Morgan Tue Thu Freshmen FR Sophomore SO Junior JR Senior SR Summer Summer
Stephanie Kozick, Amjad Faur and Susan Aurand
  Program FR–SOFreshmen - Sophomore 16 16 Day F 12 Fall W 13Winter S 13Spring How do the places where we live form the essence of our conception of space? Do human actions shape rooms, or do rooms shape human actions?Domestic space is another way of saying “the rooms in a house;” those rooms, where we spend so much of our daily lives, offer occasions for thinking about a number of intriguing questions. One philosopher (Gaston Bachelard) argues that our perceptions of houses and other shelters shape our thoughts, memories, and dreams. Others have proposed that, “Domestic space is one of the most difficult terms to define.” What an invitation to inquiry!And what are the psychological implications of domestic space? Some sociologists have stated that “The history of the house is the history of the dialectic that emerges between these two impulses: shelter and identity.” What are the relationships between one's "shelter" and one's "identity"?The kitchen is a particularly fascinating room for sociocultural considerations; food preparation is common to homes in all cultures. We will consider the ethnographic work of Roderick Lawrence on kitchens, conduct ethnographic work of our own, and read delicious memoirs inspired by kitchens.Overall, this program’s curriculum will include perspectives of history, fiction and non-fiction literature, social science studies, and cinematic representations of rooms in homes, which in turn will inspire “picturing” domestic space through photography, story writing, and fine art expression. A variety of readings will provide “food” for discussions and other learning activities that concern the design, meaning, organization, and use of all the rooms in a home.In fall quarter students can expect to study the overall concept of space as it applies to domestic dwellings, and to engage photography as a form of visual anthropology. Readings, such as, Bill Bryson’s "At Home" provides a “comfy” examination of spaces as Bryson sets out “to wander from room to room and consider how each has featured in the evolution of private life.” In the same way, students will wander through rooms with a camera to act on the dynamics of space and objects. Bryson’s wanderings will join books, such as, "At Home: An Anthropology of Domestic Space," Bachelard’s "The Poetics of Space," and Busch’s "Geography of Home."Winter quarter examines a specific room in the house: the kitchen.  Its purpose, history, design, tools, and tastes support interdisciplinary study.  As both a solitary and social space, the kitchen offers a wide platform of sociocultural concerns.  Readings, drawing workshops, a film series, photography, and project work consider the variety of meanings associated with the kitchen.  Writing workshops will facilitate students’ own meaning making in memoir writing or “meditations” on the kitchen.  The kitchen is inevitably connected to food with all its physical, aesthetic, and social aspects; the Organic Farm Sustainable Agriculture Lab (SAL) affords a kitchen workspace for program food tastings and other discoveries.   Photography work will involve shooting, developing, and peer critiquing color photography concerned with kitchen culture. Instruction on lighting and creating color prints in the darkroom presented by Hugh Lentz.During spring quarter, the study of domestic space continues with students identifying and pursuing individual research plans or projects.  Students might prepare a formal research project that deals with ethnography, theater, writing, health and sustainability, poetry,or other literary approaches.  Students might also choose to engage the practices of design, drawing, painting, collage, and various forms of media to create visual representation works concerning domestic space. Each room of the structures we call “house” has special meaning, entertains special activities, and implies that there is human intent or deliberateness, a human tendency that Ellen Dissanayake ("What is Art For") connects to the very nature of what we refer to as “art.” Spring quarter will also include modes of sharing the development of individual projects through individual WordPress sites and weekly progress meetings that take up concepts of domesticity. Stephanie Kozick Amjad Faur Susan Aurand Freshmen FR Sophomore SO Fall Fall Winter Spring
Robert Leverich
Signature Required: Fall  Winter  Spring 
  SOS JR–SRJunior - Senior 16 16 Day F 12 Fall W 13Winter S 13Spring This year-long program will provide a studio community and critical and technical support for students ready for intermediate to advanced independent work in 3D studio arts and design. Proposals for work in sculpture, crafts, site-specific installations, environmental art, and sustainable design are all welcome, from individuals or groups with a shared focus.Giving shape to materials is time-consuming, intellectually challenging, and physically demanding work. This program will emphasize informed, responsible, and skillful mastery of materials and shaping processes. Along with individual work and communal activities, students will take part in skills workshops that may cover drawing, advanced wood and metal shop processes, carving in wood or stone, fabrication with repurposed materials, or casting in bronze or aluminum, depending on student interest and commitment. In the first week, students will finalize plans for their independent work and supporting research and writing, sign up for workshops, and work with faculty to identify shared readings and activities. Students will be expected to produce significant bodies of thematic studio work, supporting research, artist statements and portfolios. They will be called on to work intensively in the studio together, to share their research through papers and presentations, and to participate in regular and rigorous critiques. Collaborative work will also include seminars, field trips, and guest lectures, to challenge distinctions between arts, crafts, and design, and to look for commonalities of approach and meaning. A key challenge for students in the spring quarter will be to jointly organize and mount an exhibition of program work at an off-campus venue.Program goals include well-informed and rigorously developed 3D work, technical competency, skillful responses to site and community contexts of the work, and the ability to speak for the work in writing, presentations, and other forms of public discourse. visual arts, sculpture, architecture, environmental design, and art education. Robert Leverich Junior JR Senior SR Fall Fall Winter Spring