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Media Studies [clear]

Title	Offering	Standing	Credits	Credits	When	F	W	S	Description	Preparatory	Faculty	Days	Multiple Standings	Start Quarters	Open Quarters
Advanced Projects in Music: From Poetry and Montage to Sound Arun Chandra literature media studies music	Program	SO–SRSophomore–Senior	16	16	Day	F 14 Fall			The creation and the performance of music involves the structuring of time (now this movement, then that sound, but first a grand entrance!), and an aesthetic goal (how does one perform an 'I don't care!' attitude? with what sound can one express hunger? Does one preclude the other?). In this program, we'll explore the performance of music, as mediated by what one can learn from poetry and theories of film. We'll read and study the poetry of T.S. Eliot (his ) and Aime Cesaire (a 20 century Caribbean poet) particularly his and his version of Shakespeare's We will also read and study essays on film composition by Sergei Eisenstein (an early 20 century Russian filmmaker and theoretician). From the work of these artists, we will create weekly performance assignments. Students, working in small groups will create responses to these assignments, and receive weekly feedback from the class and from the faculty. The assignments will address issues of montage, aesthetics, sequence, dynamics and other structural considerations. Students will be challenged to create music works starting from the poetry and the structural relations we study. During the final week of the quarter, some of the assignments will be chosen by the class for public performance.		Arun Chandra		Sophomore SO Junior JR Senior SR	Fall	Fall
The Art and Science of Sport Mark Harrison and Allen Mauney American studies cultural studies mathematics media studies physics	Program	SO–SRSophomore–Senior	8	08	Evening and Weekend	F 14 Fall	W 15Winter		-- Sport embodies an ideal of performance and meaningful action. Since ancient times, we have engaged in spectacles of play, utilizing formal and complex actions governed by rules (or conventions), rituals and aesthetics, and the laws of physics. As audiences, we derive meaning through winning and losing; we construct narratives and project values onto players and play. Through conflict, competition, and collaboration, sport reflects our deepest individual and cultural identities and desires. In its numerous iterations, sport is a singular form of human play where success and failure are by and large determined by numerical outcomes. In the last 100 years, statistical bookkeeping and quantitative analysis have played an increasingly important role in defining the quality of competiton and performance, of winning and losing. This trend points to societal values that displace human expression and cultural meaning in favor of outcomes drained of human involvement. The widespread intrusion of technology into sports training suggests that the athlete is increasingly viewed in part as a machine that can be retooled to achieve desired outcomes.Participants in this program will examine the human condition “cut to the bone” and be challenged to re-conceptualize the way we experience and think about sport through the perspective of art and science. Sport is born of human imagination and embodies deeply held ideas including competition, conflict, and collaboration. Sport is played on a moral stage with scripts taken from our culture. We will develop statistical tools to engage in increasingly data-driven conversations about sports. We will use human movement to study basic scientific descriptions of the operations of our world. Through sport we will be able to examine the psychology of play and playing, constructions of time and space, and the intersections of aesthetics, science, and technique. We will also consider the ways we mediate performance (through film, television, and other media) to generate excitement, meaning, and profits.Expect to engage through readings, films, discussions, writing and statistical assignments, and independent and collaborative work. Active learning in the form of workshops, exercises, and field trips to sporting events and performances will be a central focus of the program.		Mark Harrison Allen Mauney	Wed Sat	Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Between Land and Sea: Observations on Biological and Cultural Change Heather Heying, Andrew Buchman and Sarah Pedersen biology literature maritime studies media studies	Program	FR ONLYFreshmen Only	16	16	Day	F 14 Fall	W 15Winter	S 15Spring	What does it mean to observe? When things change—the stakes, the shoreline, or the technology, the observed or the observer—how does what we see change? How are vision and insight intertwined into representations of the natural world? Through the perspectives, methodologies and skills of artistic practice, field studies, literary criticism, evolutionary science and seamanship, we will study, interpret and communicate what we see, how we see and why. Beginning the year with a six-day field trip, we will engage in sail training aboard a classic sailing vessel and practice both foundational field methods in evolutionary studies and the documentation of sights and sounds through recordings and field journals. We will then return to the sea in spring with a two-week long expedition. How will our senses, and the brains that interpret for them, have changed in the interim? What might we see that we could not before? What do we see in the spring that was truly not there in the fall?As we move between sea and shore, we will focus on borders and boundaries: physical, sensory and cultural; metaphorical and literal. Coastlines are both fixed, defining a transition between two other real things, and in constant flux. We will look for pattern and subtlety in the places in between the dichotomies, developing stories about the changes and the boundaries we’ve observed. We will consider what makes a good story in science, art and literature, and we will investigate how to create, tell, assess and destroy stories. The stories that we know to be true sometimes aren’t, and those that we know to be false are sometimes true; we will ask how the stories that we tell and believe are influenced not just by our eyes and other senses, but also by our histories, personal and cultural. What we want to see influences what we do see. Why do our brains deceive us and when?In this program, students will study and practice observation and representation in the fields of audio and video recordings of nature and culture, performance and visual art, evolutionary biology, literary studies and seamanship:		Heather Heying Andrew Buchman Sarah Pedersen		Freshmen FR	Fall	Fall
Counter Narratives: Songs and Stories Across Cultures Andrew Buchman and Leslie Flemmer American studies cultural studies gender and women's studies language studies media studies music sociology writing	Program	JR–SRJunior–Senior	16	16	Day			S 15Spring	Counter narratives are personal stories that alter our understanding of dominant cultural narratives. Detailed descriptions of the particular and the local convey unique personal experiences. Storytelling, songs, biographies, and ethnographies all enable us to engage imaginatively in the lives and experiences of people from different cultures, times, and places. Such counter narratives can document the daily encounters of marginalized people, generate knowledge, and build community. They can expand our understanding of reality, and help us to imagine future possibilities. The stories of young people who understand more than one culture through personal experience often undermine older ideas of social identity. Counter narratives can point us toward a future in which people from diverse cultural backgrounds can co-exist peacefully and learn from one another. How can different forms of literacy such as music or songs, media, and popular culture help generate counter narratives? In this unique and collaborative program between two institutions of higher education, Evergreen and Daejeon University in Korea, we will begin to investigate what it means to understand and tell our own stories, across different cultural domains, through music, storytelling, and learning in community. This program will also serve as an opportunity to support students developing more complex language skills through everyday encounters with each other. Evergreen students who engage with the participating group of visiting Korean students in their English language studies will acquire skills in teaching English as a Second Language (ESL). How can examining and sharing stories enable us to develop greater social and academic language skills? Students will mentor each other and collaborate on in-class projects, including ethnographies, story-telling and songwriting workshops, lectures and seminars on films, books, and works of art, field trips and nature walks in the beautiful Pacific Northwest, and other individual and small group creative and scholarly projects. Students in this program may earn credit in cultural studies and humanities, musicianship and story-telling, writing and language studies.		Andrew Buchman Leslie Flemmer		Junior JR Senior SR	Spring	Spring
Critical Thought and Social Consciousness through Film Michelle Aguilar-Wells consciousness studies media studies	Program	SO–SRSophomore–Senior	16	16	Day	F 14 Fall			-Laura Bickford, Oscar nominated producer of "Traffic" Film can revolve around complex issues found in society and offer different perspectives on human and societal behavior. Students in the all level class will view and analyze a minimum of 20 films from the big screen, small screen, and documentary categories. The class will be divided into four topical areas: race relations, corporate influence and impacts, LGBT community issues, and a miscellaneous category. Examples of films that may be included are: Crash, Milk, American History X, Wall Street, Grand Torino, 4 Months, 3 Weeks, 2 Days, Traffic, Two Spirits, and How to Survive a Plague. Students will review critiques of the films, participate in seminars, use organizing techniques to identify concepts, and review competing and historical perspectives. In addition, students will analyze each film’s individual perspectives, techniques, and impacts. Students will produce reflections and/or film analysis, a final term paper that is a comparative analysis within one of the categories, deep reflective questions for each film, and research work associated with each film category. They will learn to apply critical modes of questioning to issues in their own communities. They will understand the meaning of social consciousness and the value of significant dialogue. Students should be prepared to enter into difficult discussions with civility and respect. Students can expect to examine their own beliefs in light of differing perspectives. Students can expect to receive credit in film analysis, critical thought, and social consciousness or justice. : students in this program must be prepared to view films that offer controversial subject matter and perspectives and may be rated R.		Michelle Aguilar-Wells	Mon Tue Wed	Sophomore SO Junior JR Senior SR	Fall	Fall
Cultural Landscapes: Sustainable Communities, Environmental Justice and the Media Therese Saliba, Anne Fischel and Ted Whitesell community studies cultural studies environmental studies media studies sustainability studies Signature Required: Winter Spring	Program	FR–SOFreshmen–Sophomore	16	16	Day	F 14 Fall	W 15Winter	S 15Spring	How do different cultures, communities, classes, genders and other groups experience and utilize landscapes differently? How do peoples’ stories or histories converge or conflict in relationship to any given place? What are communities doing to build a more just and sustainable future? How do we read power relations in the landscape?Studying “cultural landscapes” means looking at how the land bears the imprint of generations of human cultures. We will learn to read landscapes as primary sources of information about culture, community identity and the relationship between humans and their environment.This program will focus on how the transformations of landscapes are linked to struggles for sustainability and justice. In the exploration of these questions, we will study the foundations of cultural, environmental, media and sustainability studies. Selected topics in sustainability studies will be introduced, including the study of complex systems, climate change, human population, environmental justice, energy and species extinction. We will look at the role of photography and film in shaping our understanding of people, places and resources. We will also learn how people in diverse political, economic and social situations are working to create just and sustainable communities, as we observe, analyze and engage with communities involved in these efforts.We will examine the histories of expansion, colonization, globalization and migration in the Middle East, the American West and the U.S./Mexico border region during fall quarter. In winter, we will examine specific contested landscapes through international case studies of Iraq, Israel/Palestine, Egypt Venezuela and Brazil. The centerpiece of spring quarter will be learning about landscapes of sustainability and justice through active engagement with the communities here in South Puget Sound.Each quarter, students will get hands-on field experience in the landscapes and cultures of the Pacific Northwest, through multiple field trips lasting between one and three days. We’ll focus on the importance of regional river systems like the Columbia, Elwha and Duwamish Rivers and we’ll examine the controversies and struggles that different communities and cultures have engaged in regarding their use. We may also visit Mount Rainier, Whidbey Island and the cities of Seattle, Centralia, Shelton and Olympia. Students will learn skills in field observation through the use of field journals, descriptive writing and photography. Students will have the option to develop a practice of photography that reflects on what they have learned to see in the landscape and makes visible some of the contested histories and cultures of the places we are coming to know. Finally, students will gain skills in expository writing and analysis of cultural texts, including literature and films that explore the relationships of communities to their environments and how their identity is influenced by their sense of place.		Therese Saliba Anne Fischel Ted Whitesell		Freshmen FR Sophomore SO	Fall	Fall Winter Spring
Current Economic and Social Issues: Explanations, Actions and Solutions Peter Bohmer American studies communication economics media studies political economy political science sociology	Program	FR ONLYFreshmen Only	16	16	Day			S 15Spring	The outcome of current social and economic problems will shape the future for us all. This program focuses on analyzing these problems and developing skills to contribute to debates and effective action in the public sphere. We will address major contemporary issues such as poverty and economic inequality, immigration, sexual violence, incarceration, climate change, and war on a global and national level. We will draw on political science, economics and political economy, sociology, and communication studies for our analysis, with particular attention to dimensions of class, race, gender, and global inequalities.We will build our analyses using data-driven descriptions, narratives of those directly affected, and theories that place issues in larger social and historical contexts. Students will be introduced to competing theoretical frameworks and perspectives for explaining the causes of social problems and their potential solutions (frameworks such as neoclassical economics, liberalism, Marxism, feminism, and anarchism). We will study how social movements have actively addressed the problems and investigate their short- and long-term proposals and solutions. We will also examine how alternative economic and social systems address these issues.Through critical analysis of media representations of current issues, students will learn to create alternative representations in the form of radio broadcasts or podcasts. Students will learn basic recording, editing, writing, and performance skills needed for audio interviews, commentaries, and documentaries.We will choose the specific issues to be addressed in the program as spring 2015 approaches, so that our study will be as relevant as possible. For each topic studied, we will combine readings with lectures, films, and workshops, along with guest speakers and field trips as appropriate to observe problems and responses first hand.Students will write short papers on each of the social and economic issues we are analyzing. You will also in groups examine in more depth and report on one of these areas.		Peter Bohmer	Tue Tue Wed Fri Fri	Freshmen FR	Spring	Spring
The Empty Space: Performance, Movement and Theatre Walter Grodzik and Cynthia Kennedy aesthetics consciousness studies cultural studies dance education media studies queer studies somatic studies theater	Program	FR–SRFreshmen–Senior	16	16	Day	F 14 Fall	W 15Winter	S 15Spring	How does imagination respond to the emotional self, the physiology of the body and the psychology of the mind? How can we become more expressive and responsive to our inner selves? This program will explore the interior spaces where performances begin and the exterior spaces where performances are realized. Through the understanding and embodiment of somatic concepts such as awareness, intention, centering, authenticity and the interplay of mind and body, students will have the opportunity to explore the creative imagination as it expresses itself from their own life processes, rather than from externally imposed images, standards and expectations.Students will begin with movement and theatre exercises that center and focus the mind and body in order to open themselves to creative possibilities and performance. Students will also study movement and theatre as a means of physical and psychological focus and flexibility that enable them to more fully utilize their bodies and emotional selves in creating theatrical performance. Students will be invited to explore and enjoy the movement already going on inside their bodies to learn to perceive, interpret and trust the natural intelligence of intrinsic bodily sensations. The class will use experiential techniques derived from several traditions of somatic philosophy. In seminar, students will read a broad variety of texts about creativity, movement, theatre and dramatic literature.The program will include weekly seminars, workshops in movement and theatre, and film screenings of various movement/theatre and theatre productions. We welcome students of all abilities who bring their excitement, commitment and creativity to the performing arts.		Walter Grodzik Cynthia Kennedy		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Inscribing the Body: Embodiment and the Performance of Gender in Creative Writing David Wolach aesthetics cultural studies gender and women's studies literature media studies writing	Course	FR–SRFreshmen–Senior	4	04	Evening and Weekend		W 15Winter		In what ways is writing gendered? This class will take up "the body" as a site of radical cultural production as expansively as possible within the short time we have, considering some of the ways in which bodies are othered through language, including through discourses of disability, gender performance, and other zones of social dislocation. Each week we'll read texts by contemporary writers that we will use as models for build our own writing portfolios. Though this is primarily a creative writing class, our writing will push itself outside its usual modes of operation. Emphasis will be put on experiments in breaking genre and mixing media, collaborating on pieces as well as making individual works, and developing a poetics in relation to the social-political. We will explore texts anthologized in the recent collection , discuss and critique the rich tradition of "somatic" practices in the world of performance and live art, including the work of artists such as Marina Abramovic, and we will familiarize ourselves with important recent experiments in poetry and prose by authors such as kari edwards, Hannah Weiner, Theresa Hak Kyung Cha, and CA Conrad. Our end goal will be to curate a show and live reading that allows us to test out some of our textual experiments.		David Wolach	Wed Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
It's About Style Greg Mullins and Julie Russo literature media studies queer studies	Program	FR–SOFreshmen–Sophomore	16	16	Day			S 15Spring	This program offers an introduction to queer studies and an avenue to continue the study of literature and visual culture that students may have begun in “It’s About Time.” Through the critical study of film and fiction students will expand their appreciation for how words and images open horizons of understanding sex and gender and the cultural politics of sex and gender.Style (in literature, film, art, fashion, design) is notoriously easy to recognize and challenging to define. You know an Olympia hipster when you see one, but what makes a hipster “hip”?Queer writers, critics and media artists have historically deployed styles at once visible and elusive. Why? To what effects? (Think: Ziggy Stardust. Think: Margaret Cho.)This program will explore style as an aesthetic and political practice. We will focus on queer politics and on ways that gender and sexuality might interrupt narratives that, on their surface, appear quite tranquil. Our visual studies will center on narrative cinema; our textual studies will focus on novels. Expect to devote long hours to reading richly stylized fiction, literary criticism and queer theory. Expect also to write expository essays.A sense of fashion is not a prerequisite, but a willingness to explore style (in your writing, at least) is.		Greg Mullins Julie Russo		Freshmen FR Sophomore SO	Spring	Spring
Makers of Modern Drama: Chekhov, Ibsen, and Others Marla Elliott and Thomas Rainey cultural studies history literature media studies theater Signature Required: Winter	Program	FR–SRFreshmen–Senior	8, 12	08 12	Evening	F 14 Fall	W 15Winter		This program will explore the Russian short story writer and playwright Anton Chekhov and other European dramatists, such as Heinrich Ibsen, who together are credited with the development of modern drama. We will analyze not only their fictional and dramatic works but also their lives and times, from which they drew their major characters and dramatic situations. We will also study the Stanislavsky Method as well as other aspects of modern acting techniques. During the fall quarter, we will experience Chekhov and Stanislavsky through scene work and culminate those studies in auditions for a full production of Chekhov's which we will perform at the end of winter quarter. During the winter quarter, we will study carefully filmed live performances of plays by Chekhov, Ibsen, Shaw, Brecht, and other dramatists associated with the birth of modern drama. In the winter quarter, we will also continue to read, critique, and discuss commentaries—current and past—on the plays of Chekhov and of the other late nineteenth-century and twentieth-century dramatists and determine the many reasons for the enduring legacy and influence of all these makers of modern drama. Embedded in the program, during the fall quarter, will be a 4-credit segment entitled “Anton Chekhov: Life, Times and Work.” Students enrolled in the program will participate in these seminars and lectures alongside students from the 16-credit program “Russia and the Forging of Empires”. Credit equivalencies will be in cultural history, literature, and drama.		Marla Elliott Thomas Rainey	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Making Meaning Matter: The Ornament of Materiality Sarah Williams and Arlen Speights computer science consciousness studies cultural studies education gender and women's studies media studies somatic studies sustainability studies writing	Program	FR–SRFreshmen–Senior	16	16	Day and Evening	F 14 Fall			What do wampum, bitcoin, quantum computing, 3D printing, community, and forgetting have in common? What does the education of women have to do with reproduction and population growth? How do these "things" differ in connecting the ethereal with the physical? Non-verbal experiences evolve into expressible thoughts and ideas, which can be crafted and manufactured into material existence, all of which may carry value. What are the stakes of each step of reification, given their carbon footprint in an ecozoic anthropocene? What are alternative, sustainable processes for learning, computation, and currency?This program investigates this connection between meaning, making, and matter using scholarly as well as contemplative inquiry, experimental writing, moving images, and 3D printing. We’ll experiment with the role of optimism both in connecting mind and body and in debugging mental habits. Students will use 3D printing to bring an idea, developed through their writing, reading, and film experience into physical being. We'll analyze the relationships between an object’s material and non-material natures and values. Students will begin this program with a meditation retreat to become more familiar with bodily, felt experiences as the materiality of, and for, thought processes.The program is designed to be self-bootstrapping and evolving using innovative pedagogy, through which all students actively participating in activity planning and community building. Possible texts include by James Marcus-Bach, by Lambros Malafouris, by Nassim Taleb, by Neal Stephenson, by Martin Seligman, by Mark Frauenfelder, by David Loy, and by Ruth Ozeki. The program will continue as a studio component of the program “The Nature of Ornament” in the winter and spring quarters.		Sarah Williams Arlen Speights		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Media Internships Peter Randlette, Ruth Hayes and Julia Zay media arts media studies moving image Signature Required: Fall	Contract	JR–SRJunior–Senior	16	16	Day	F 14 Fall	W 15Winter	S 15Spring	The Electronic Media internships provide opportunities for in-depth learning of a variety of media skills and concepts. They require a year-long commitment for fall, winter and spring quarters. Interns enroll for 12-16 credits per quarter with room for a 4-credit part-time class or other academic components. Interns work 30 to 40 hours a week and pay depends upon hours worked as defined in the internship agreement. The intern's primary responsibilities are focused on supporting instruction, maintenance and administration for specific labs, facilities and production needs under the supervision of the staff. The interns meet weekly as a group to share skills, collaborate on projects, and to facilitate working together on productions and cross training between areas. All interns will be working in the Center for Creative and Applied Media, the rebuilt HD video and 5.1 surround audio production studios. For specific descriptions of the internships, please refer to .		Peter Randlette Ruth Hayes Julia Zay		Junior JR Senior SR	Fall	Fall
Media/Culture: Advanced Practices Naima Lowe media studies visual arts Signature Required: Winter	Program	JR–SRJunior–Senior	12, 16	12 16	Day	F 14 Fall	W 15Winter	S 15Spring	This program is an opportunity for advanced students to study the theory and practice of contemporary media (as a visual art, site of political engagement, and way of thinking) with the support of a learning community. Students in this program will have a chance to develop independent research and creative projects in film, video, performance and installation art that centers on issues of import to contemporary cultural studies including critical race studies, queer theory, post-colonial/de-colonial art practices, feminist studies, intersections of technology/science and art, and more. Students will be asked to think critically and creatively about how their artistic practices are informed by and respond to issues of power, privilege, and accountability.In fall students will create shared visual and critical vocabulary through readings, screenings, short papers and workshops in film, video, performance art and installation. Students will also work in research and practice cohorts that will be driven by student interests. By the end of fall quarter students will develop a project proposal and outline of work to be done during winter and spring including a detailed syllabus and week by week schedule of work practices.In winter students will have the opportunity to work in a largely independent framework, including time to travel off campus for filming and research purposes. Students will have bi-weekly conferences with peers and faculty where work progress will be assessed. Students will also have the option to enroll for reduced credit in order to take classes to support skill development in language, visual art, writing, music, etc.In spring we will reconvene as a full group and work together to develop a theme and approach to a group showing of creative and research projects for the campus community. The primary work of quarter will include in depth critiques and peer review of creative and research projects.		Naima Lowe	Mon Tue Tue Wed Thu	Junior JR Senior SR	Fall	Fall Winter
Mediaworks Julia Zay and Ruth Hayes art history communication media arts media studies visual arts writing Signature Required: Fall	Program	SO–SRSophomore–Senior	16	16	Day and Evening	F 14 Fall	W 15Winter	S 15Spring	As media artists, we define the responsibilities we have to our audiences and the subjects of our work. This is a foundation arts program that explores what it means to make an image, to make a photographic image, to make moving time-based images and to pair image with sound. We approach these questions philosophically, historically and materially—through the critical-creative practices of reading, writing, making, critique and reflection. This inquiry will require that we examine the implications of making new images and/or appropriating and repurposing old ones in our age of media proliferation and saturation. It also will require that we return to media’s roots in the 19th century to examine how photographers, vaudevillians, artists and others invented their way into cinema. We will critically engage with traditions of film and video practice as well as related forms of visual art, mapping a broad contextual territory and challenging received notions of the boundaries between forms, genres and mediums.We will focus our creative work on a broad category called “nonfiction” that includes experimental and documentary forms, developing skills in the crafting of both live-action and animated moving images. We will explore the technologies and material properties—as well as multiple exhibition modes—of sound and moving image media, and apply these to projects that explore essayistic and autobiographical approaches, among others. We will spend significant time in critique to help each other see, describe, evaluate and improve our creative and critical work.In fall, we will focus on building essential skills in practices of attention: seeing, listening and experiencing. We will apply these skills to everything we do; class sessions will include lectures/screenings, conceptual and technical workshops, seminar, critical reading and writing and critique. We will gain skills in animation, 16mm film, video, audio and drawing as we explore the larger social and historical contexts and philosophical questions surrounding each medium. Students will form collaborative groups to research and develop projects informed by multiple disciplines that will be the focus of their winter quarter creative work. In winter, we will deepen our study and practice of media, moving towards more intentional examinations of how our investments in collaboration, community and networks can animate our intellectual and creative work. We will also consider the environmental impacts of this work. In spring, as a culmination of the work in fall and winter, students will organize themselves into affinity groups as they each prepare an extensive proposal, including research prospectus and planning documents, for an independent nonfiction media project that will include both exhibited and written components. We encourage collaborative projects. Students will sharpen their conceptual design skills as they identify the most useful forms for this work; this could be film or video, animation, audio, installation, performance and/or an internship. Weekly critiques, presentations by visiting artists, screenings, research presentations, community service projects and technical workshops will support each student's emerging work.		Julia Zay Ruth Hayes		Sophomore SO Junior JR Senior SR	Fall	Fall
Mona Lisa Overdrive: Science in Art and Culture Amy Cook and Julie Russo biology cultural studies literature media studies	Program	FR–SOFreshmen–Sophomore	16	16	Day	F 14 Fall	W 15Winter		Leonardo da Vinci Throughout the centuries that span Leonardo's Mona Lisa (painted in the early 1500s) and William Gibson's cyberpunk classic (published in 1988), the worlds of science and art have been in dialogue, and those conversations lie at the heart of this two-quarter program. We will explore the many meanings of “science”: how do scientists and non-scientists define it, and on what points do they agree and disagree? We will examine science in a variety of contexts to gain a deeper understanding of how it functions in culture(s): what is the relationship between what chemist and novelist C.P. Snow termed “the two cultures” (the sciences and humanities) and the larger culture(s) of which they are part? To answer this question, students will consider, in detail, the choices that artists, writers and media creators make about how to interweave science with storytelling and aesthetics. We will undertake this journey by navigating a conceptual double helix that bridges introductory life science and introductory media studies (analyzing film, television, and new media). Such a schema involves thinking through how research and ideas about the nature of life have been shaped by media technologies and representations, and vice versa. In Fall quarter, we will begin a path of study in general biology with a focus on cell biology and genetics. Over the course of two quarters, we will cover major concepts in organic chemistry, microbiology, evolutionary biology, physiology, and ecology. Equally importantly, students will supplement their humanities toolkit by honing their critical thinking, reading and writing skills. Equipped with this knowledge and these skills, we will examine and critique how issues like biotechnology, epidemics, race and gender have been presented in the news media and both nonfiction and science fiction film and television, from to . In Winter quarter, we will continue our study of biology with a focus on organisms (plants, animals and fungi) and ecosystems. We will also explore the media's portrayal of these concepts through themes such as monsters, anthropomorphism, reproduction and eugenics, and the human/machine binary. The scope of our analysis will expand to include computers, the internet, video games, and other independent or varied multimedia. Singers and songwriters like Ian Anderson of Jethro Tull, Maddy Prior and Ray Troll incorporate themes from biology and geology into their music. Visual artists like da Vinci have delved into science to lend their work a high degree of scientific accuracy and filmmakers such as Steven Spielberg hire scientists for similar reasons. Mary Shelley, Barbara Kingsolver, William Gibson and a host of other creative writers merge science and art to produce what may be called “lab lit.” How these artists attempt to achieve balance between the application of scientific exactitude and the exercise of artistic license will be a guiding question in winter quarter.Program activities will include biology lectures and labs, seminars on texts that explore science from a variety of different perspectives, film/media screenings and discussions, and field trips. Students will have the opportunity to develop a deeper understanding of science, culture and media and to develop their skills in the analysis of texts and in academic and creative writing and media practice.		Amy Cook Julie Russo	Tue Wed Thu Thu Fri	Freshmen FR Sophomore SO	Fall	Fall Winter
Multitrack Composition I, II, III Peter Randlette media studies music Signature Required: Fall Winter Spring	Course	JR–SRJunior–Senior	4	04	Evening	F 14 Fall	W 15Winter	S 15Spring	Multitrack Composition is the study of audio technology and its role in changing the art of music composition and production. This three quarter long continuing class is concerned with the use of modern recording technologies as instrument. The use of signal processing, tape/computer based manipulation, and the structure of multitrack recorders and audio consoles allow a great number of techniques to be created on the fly to generate, modify, and document musical sound. Fall quarter will be spent reviewing operation, design and application of the campus facilities to gain common skill levels and technical knowledge, and complete proficiency in the Communications Building API1608 and Neve 5088 studios and associated facilities. The course is for musicians and engineers who want to develop compositional, technical and collaborative skills in modern production. This is a lab course with limited (20) positions available. Please make sure you complete an application and speak with the sponsor regarding your skills. If you have any questions, please contact the sponsor.		Peter Randlette	Tue	Junior JR Senior SR	Fall	Fall Winter Spring
The Narrative Tableau: Conceptual Strategies in Studio Photography Amjad Faur art history media arts media studies visual arts	Program	SO–SRSophomore–Senior	16	16	Day and Evening		W 15Winter		This program will explore the range of challenges, problems and possibilities in conceptualizing, constructing, and photographing in a studio environment. Students can expect to use a broad range of materials (cameras, printing techniques, etc.) but all shooting will remain on film (35mm, medium, and large format). While students can expect to print from those negatives in traditional black and white and color darkrooms, the program will also cover the process of scanning negatives and producing digital prints from those scans. The primary focus of the program will be how to formulate the outlines of a cohesive body of work, conduct research for that content, and for students to ultimately produce images based on that research in a controlled, studio environment.We will employ strategies for challenging basic assumptions about the role and lexicon of the constructed image as well as immerse ourselves in the rich history of narrative tableaus (still lifes, historical paintings, etc.) as they have developed over the course of art history. Students will be asked to place their work and ideas within the context of contemporary photography and contemporary art, more generally, as the photograph has become an almost ubiquitous surrogate for lived experience. Students will be especially challenged to confront how their photographs are situated within the context of representation and depiction (addressing the inevitable conclusion that all images are, at their core, political in one way or another).Students will be responsible for providing a written statement regarding their final body of work, which will reflect the quarter’s accumulation of research, transformation, and final production. Students can expect to edit down their quarter’s worth of images to 8-11 final photographs, which will constitute their final body of work. There will be weekly lectures, critiques, and seminars in addition to workshops and studio time. Students will also be required to attend the weekly Critical and Cultural Theory lecture series. Students can expect weekly reading assignments followed with written responses and formal participation in each seminar.		Amjad Faur	Mon Tue Wed Thu	Sophomore SO Junior JR Senior SR	Winter	Winter
Race to the Top, Race to the Bottom: Interrogating Educational Policy, Law and Media Grace Huerta and Artee Young American studies communication community studies education field studies law and public policy media studies writing	Program	SO–SRSophomore–Senior	16	16	Day			S 15Spring	Educational ranking in the United States and globally has long been controversial, even more so today as student and teacher accountability measures drive our perceptions of what constitutes an effective and equitable American school. How exactly have these perceptions of educational success and failure been formed: by history, by legal precedent, by educational policy, by economics, and by the media? In this program, we will analyze how such factors influence our perceptions and assessment of American schooling today.By conducting field research and tutoring in the public schools, comparing and contrasting school practices, policies, local, state and federal laws, as well as tracking media representation, we will analyze the nature of public education and how it has been conceptualized and depicted in the United States and abroad.Our final research project will consider how to interrogate both the depictions of schooling and how accurate depictions play an important role in the shaping of equitable U.S. educational policy in the future.		Grace Huerta Artee Young	Mon Tue Thu	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 14 Fall	W 15Winter		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
Undergraduate Projects in Critical and Creative Practices Naima Lowe, Shaw Osha (Flores), Kathleen Eamon and Joli Sandoz African American studies art history communication cultural studies gender and women's studies literature media arts media studies moving image visual arts writing Signature Required: Fall Winter Spring	Program	SO–SRSophomore–Senior	V	V	Day, Evening and Weekend	F 14 Fall	W 15Winter	S 15Spring	This is an opportunity for students to work on faculty-driven scholarly and creative projects. By working with faculty in a studio and research “apprentice” model, students will gain hands-on experience in visual arts studio practices, film/media production practices, the creative writing workshop focused on craft, critical research and writing, library and archival research practices, and much more. (social and political philosophy, aesthetics, philosophy of art) has interests in German idealism (Kant and Hegel), historical materialism (Marx, 20 C Marxists, and critical theory), and psychoanalysis (Freud and Lacan). She is currently working on an unorthodox project about Kant and Freud, under the working title “States of Partial Undress: the Fantasy of Sociability.” Students working with Kathleen would have opportunities to join her in her inquiry, learn about and pursue research in the humanities, and critically respond to the project as it comes together. In addition to work in Kantian aesthetics and Freudian dream theory, the project will involve questions about futurity, individual wishes and fantasies, and the possibility of collective and progressive models of sociability and fantasy. (experimental media and performance art) creates films, videos, performances and written works that explore issues of race, gender, and embodiment. The majority of her work includes an archival research element that explores historical social relationships and mythic identities. She is currently working on a series of short films and performances that explore racial identity in rural settings. Students working with Naima would have opportunities to learn media production and post-production skills (including storyboarding, scripting, 16mm and HD video shooting, location scouting, audio recording, audio/video editing, etc) through working with a small crew comprised of students and professional artists. Students would also have opportunities to do archival and historical research on African-Americans living in rural settings, and on literature, film and visual art that deals with similar themes. (visual art) works in painting, photography, drawing, writing and video. She explores issues of visual representation, affect as a desire, social relationships and the conditions that surround us. She is currently working on a project based on questions of soul in artwork. Students working with Shaw would have opportunities to learn about artistic research, critique, grant and statement writing, website design, studio work and concerns in contemporary art making. (creative nonfiction) draws from experience and field, archival and library research to write creative essays about experiences and constructions of place, and about cultural practices of embodiment. She also experiments with short lyric nonfiction, and with juxtapositions of diagrams, images and words, including hand-drawn mapping. Students working with Joli will be able to learn their choice of: critical reading approaches to published works (reading as a writer), online and print research and associated information assessment skills, identifying publishing markets for specific pieces of writing, or discussing and responding to creative nonfiction in draft form (workshopping). Joli’s projects underway include essays on illusion and delusion, and on physical achievement and ambition; and a visual/word piece exploring the relationship of the local to the global.Please go to the catalog view for specific information about each option.		Naima Lowe Shaw Osha (Flores) Kathleen Eamon Joli Sandoz		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Undergraduate Projects in Critical and Creative Practices with N. Lowe Naima Lowe African American studies art history communication cultural studies gender and women's studies media studies moving image visual arts Signature Required: Fall Winter Spring	Research	SO–SRSophomore–Senior	V	V	Day, Evening and Weekend	F 14 Fall	W 15Winter	S 15Spring	This is an opportunity for students to work on faculty-driven scholarly and creative projects. By working with faculty in a studio and research “apprentice” model, students will gain hands-on experience in visual arts studio practices, film/media production practices, the creative writing workshop focused on craft, critical research and writing, library and archival research practices, and much more. (experimental media and performance art) creates films, videos, performances and written works that explore issues of race, gender, and embodiment. The majority of her work includes an archival research element that explores historical social relationships and mythic identities. She is currently working on a series of short films and performances that explore racial identity in rural settings. Students working with Naima would have opportunities to learn media production and post-production skills (including storyboarding, scripting, 16mm and HD video shooting, location scouting, audio recording, audio/video editing, etc) through working with a small crew comprised of students and professional artists. Students would also have opportunities to do archival and historical research on African-Americans living in rural settings, and on literature, film and visual art that deals with similar themes.		Naima Lowe		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Writing and Speaking for Change: Advocacy in Times of Economic Inequality Lori Blewett and Nancy Parkes communication media studies political economy sociology writing	Program	SO–SRSophomore–Senior	8	08	Evening and Weekend	F 14 Fall	W 15Winter		More than 46 million U.S. residents live in poverty. Income inequality has reached record levels. Yet poverty and inequality seldom galvanize the mainstream media or elected officials. This program will introduce students to foundational social and economic concepts related to poverty and privilege. We will examine issues though the lens of intersecting community problems, with particular attention to the historical dynamics of race, class, and gender. Linking problems to potential solutions, we will ask: How can writing and speaking be used to address issues of poverty in transformative ways? How can we reach across significant differences to open both minds and hearts? What can we learn from the rhetorical strategies of past and present movements for economic justice? What are the available means of persuasion, and how do we choose among them? How can advocates get their messages heard despite the constraints of corporate-dominated media? is recommended for students interested in affecting public policy and educating the broader public about complex issues. We will consider the elements of effective, content-based advocacy including communicating with elected officials and the media. Special attention will be given to writing skills for print and online media and to public speaking skills for live audiences and radio. Students will learn introductory technical skills needed for social media, web publishing, and audio production. During winter quarter, students will work on a substantial advocacy project that may be shared with the community in written or broadcast format. This program satisfies communication requirements for selected Master in Teaching endorsement areas.		Lori Blewett Nancy Parkes	Mon Wed	Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Writing Our Future Histories: Gender, Race, and Class in Contemporary Text Arts David Wolach aesthetics cultural studies gender and women's studies literature media studies writing	Course	FR–SRFreshmen–Senior	4	04	Evening and Weekend			S 15Spring	This course challenges students to write the world that does not yet exist. Or, as poet and theorist of radical black performance Fred Moten does, we will try to engage in writing that "investigates new ways for people to get together and do stuff in the open, in secret." Each week we’ll work individually and collaboratively on writing experiments—prose, poetry, essay—that critique and advance beyond our own assumptions about what is socially possible or probable and that do so by paying careful attention to the rhythms of current crises. As a basis for this creative production, we will engage critically with writers whose work exists at the point where the border between politics and art ruptures. In sound, in sight, and through a kind of "improvisatory ensemble" (as Moten puts it) we will resist what too often gets counted as the inevitable outcome of a political economy that treats people as objects that just happen to speak. What is inevitable about the future, and what is it about controlled acts of creative improvisation that helps us not just "guess at" but hear our future’s past?		David Wolach	Wed Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring