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Aesthetics [clear]
Title | Offering | Standing | Credits | Credits | When | F | W | S | Su | Description | Preparatory | Faculty | Days | Multiple Standings | Start Quarters | Open Quarters |
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Amjad Faur
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Program | FR–SRFreshmen–Senior | 8 | 08 | Day | Su 16 Session II Summer | This program is designed to introduce students to the historical trajectory of Western art through its turbulent succession of movements and practices. We will explore the early development of representational images and how ancient civilizations came to lay the groundwork for almost 2,000 years of European art. The program will look closely at the broader implications of how developments in visual representation and stylistic forms were almost always tied to social, political, religious, and sexual / gendered battles happening on the ground. The program will examine the sociopolitical implications of form and content in bodily and spatial representation in painting, sculpture, and photography. From Giotto's reintroduction of Greek Classicism and Humanism into 14th century religious painting to Neoclassicism's usurping of Rococo as a visual analogy of The Reign of Terror, and the total reorganization of artistic thought and practice brought about by Dadaism and photography, students will consistently seek to identify and contextualize the underlying factors of Western art's formal transformations. We will explore the disintegration of mimetic representation in the 19th and 20th centuries and the rise of abstraction, Modernism and Postmodernism. Students will be expected to write close, critical analysis of artists and movements covered in the program. Students will write a final paper investigating the critical responses to a post-19th century artist and explore the ramifications of that artist and the public/critical responses to their work. | Amjad Faur | Mon Tue Tue Wed Thu Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Amjad Faur, Eirik Steinhoff and Sarah Eltantawi
Signature Required:
Spring
|
Program | FR–SRFreshmen–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | S 16Spring | This program will focus on some of the most intractable and convoluted crises engulfing the Middle East and North Africa in order to better understand their root causes on behalf of identifying potential solutions. Revolution, counter-revolution, civil war, theocracy, dictatorship, corruption, torture, iconoclasm, imperialism, dispossession, terrorism, sanctions, invasions, occupations, insurgencies, counter-insurgencies, clash of civilizations, clash of ignorance: these are a few of the central terms used in the news to describe the recent present in the region. What do these words mean? What caused the actions and events they refer to? Who are the major players, the agents of stability and change --- for better or worse? How are we to determine what is better or worse? What material or conceptual structures (from countries to theories) do we need to comprehend before we attempt to answer these questions? How can we develop a nuanced analytical language that will allow us to describe these complex crises and their causes over and against the myths and slogans they are so frequently reduced to? How, in other words, can we better understand the history that underlies the news, and what futures might such an understanding make possible?In the fall and winter quarters, students can look forward to a dynamic mix of lecture, seminar, and workshop anchored in a constellation of intensive reading, responsive writing, and active looking. An oscillating relationship between theorizing, doing things with words, and making things visible will serve as the engine of our transdisciplinary inquiry, which seeks to uncover overlooked relationships in order to increase the overall power and scope of our analysis.Our interdisciplinary inquiry will be anchored in the methods of diagramming and diagnosis. We will begin, for instance, by plotting, on a massive sheet of paper, the myriad interrelationships between sectarian, religious and ethnic populations of the region, tracking, in particular, the evolution of their alliances and conflicts. Students will maintain and update this diagram throughout the three quarters, and reflect on the labyrinthine web that constitutes the region in all its complexity. This diagram will act as a template from which students will begin to look for the connective tissues that may help to resolve the current climate of conflict. We will diagnose these conflicts and their major players not only through the analytical frameworks of geography, history, comparative religion, and political science, but also in light of aesthetic practices, such as poetry and fiction, on the one hand, and image-making (and image-breaking) of all shapes and sizes, on the other. What can art teach us that theory overlooks? What are the limits of disciplinary approaches forged in Europe and the U.S. when it comes to describing the crises convulsing the Middle East and North Africa? What other kinds of diagnosis might our diagrammatic approach allow us to come up with?The program will closely examine the dramatic sequence of uprisings most often referred to as “The Arab Spring” that shifted the dynamics of power and resistance across the region and that led to some of the most visible and volatile events unfolding in the area today (such as the Syrian civil war, the emergence of ISIS, Kurdish autonomy, and so on). We will study this sequence in relation to the ongoing geopolitical processes (such as imperialism, self-determination, and resource extraction) that led to the founding of the countries in the region in the first place, our premise being that “there is no just way in which the past can be quarantined from the present” (as Edward Said has argued).In the spring, students will form large blocs to begin the process of negotiating and proposing actions designed to ameliorate the regional conflicts we have been studying. This process could follow the form of model legislative bodies such as the U.N. or the Arab League, on the one hand, or the form of more impromptu assemblies of the sort that have sprung up in Tahrir Square or in autonomous Kurdish territory, on the other. By the end of spring quarter, students will have completed a complex diagnostic diagram of the region, and faculty will collate student recommendations to send to the Arab League, the U.N., and other pertinent bodies. Students will also have the opportunity to produce and curate images that relate to a representation of the Middle East and North Africa. Students will learn to apply the complexities of visual analysis to the visual languages that have helped create and support colonial aspirations and the creation of identity across the spectrum of the region’s varied populations. | Amjad Faur Eirik Steinhoff Sarah Eltantawi | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | |||
Walter Grodzik
Signature Required:
Fall Winter
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Program | FR–SRFreshmen–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | In this two quarter program, students will study the history, theory, and practice of 20th century Avant-garde performance, including Surrealist, Dada, Futurist, Cubist, Bauhaus, and other more recent contemporary Performance Art traditions. Emphasis is this program is on experiential learning through workshops stressing technique, theory, and composition and the live performance of original and reconstructed works.In the first quarter, students will study 20th century Western experimental performance art through the reading of texts, performance manifestos, and film screenings. In weekly workshops, students will investigate and practice newly-learned techniques and reconstruct historical performances. Students will also engage their learning through the use of improvisation and the composition of original performance works. There will be multiple rehearsals scheduled each week to reconstruct and create new work. Works in progress will be shared regularly in performance workshop for peer and faculty critique.In the second quarter, students will continue studies of Performance Art in order to create a body of short performances to be presented at the end of the quarter. Students will be heavily involved in both workshops and independent rehearsals in order to realize their final public presentation.This is an advanced program in practice and theory, designed particularly for theater and dance students, however, avant-garde performance works are multidimensional, and students in the performing arts, media arts, and visual arts with musical and kinesthetic sensitivity are welcome.Workshops are progressive and attendance is essential, requiring high levels of maturity, independent time management, and organization. Students need to be able to work collaboratively and should exhibit a high-level of independence. Most experiential learning cannot be "made up", and students are expected to be active and enthusiastic participants in all aspects of the program, at all meetings, and to demonstrate integrative, independent, and critical thinking. | Walter Grodzik | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
Terry Setter, Cynthia Kennedy and Bill Arney
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Program | FR–SRFreshmen–Senior | 16 | 16 | Day | F 15 Fall | "The art of living" is an ancient concept, one that has always suggested that by being educated correctly one could come to live consciously and conscientiously, attentively, and with a sense of purpose. “Correct” education required both education of the mind and education of the body. One cultivated the mind through philosophical discussion with elders and masters who also prescribed appropriate practices for the body. This program will begin by contrasting “the art of living” and its characteristic effort to refine life by cutting away the unnecessary in favor of the Good, with modern life that constantly seeks to expand one's choices, options, and alternatives, all of which tend to distract our attention from our “true” purpose. Among other practices, we will study walking, reading, and writing: walking as political (e.g., protest marches), aesthetic (the "dandy"), and ascetic (pilgrimage) activity; reading not as information acquisition or entertainment but, as many religions do, as a practice of discernment of wisdom; writing not to express oneself or to find one's voice, but as a dedicated effort to find words to help one appreciate and understand embodied experience. We will explore questions about values in life as well as the writings of authors such as C.G. Jung, Ivan Illich, and Joanna Macy.We will explore ways people have used resources and practices, personal to global, to craft richer, more meaningful lives. We will have weekly workshops in movement and somatic practices as well as an overnight retreat to build program cohesion and explore new skills. During the term, students will work collaboratively to create responses to our program materials. They will also conduct independent research on a topic of their choosing, related to the program content; this project will account for up to half of the awarded credit. | Terry Setter Cynthia Kennedy Bill Arney | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | |||||
Aisha Harrison
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Course | FR–SRFreshmen–Senior | 4 | 04 | Evening | W 16Winter | 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 | ||||
Gail Tremblay
|
Program | SO–SRSophomore–Senior | 16 | 16 | Day | F 15 Fall | This program will examine the work of Indigenous artists in North America who have helped define the Contemporary Native American Art Movement since the 1960s and will trace the movement’s evolution through 2015. Beginning with an examination of works by seminal artists like Alan Houser, Oscar Howe, Fritz Scholder, and Helen Hardin, who transformed American Indian art, students will explore the way that these artists and the Indigenous artists who came after them became an innovative force that redefined the place of American Indian/First Nations artists in the global art world. We will analyze the way these various generations of artists have created movements in the Americas that have challenged anthropological and colonial paradigms that define aesthetically exquisite objects made by Indigenous peoples as artifacts to be studied in an ethnographic context rather than as works of fine art. We will look at the way the art/craft divide in European and American settler art discourse has affected the way Indigenous art has been defined. Through detailed analyses, students will critically reflect on not only the aesthetic principles inherent in Indigenous artwork, but also on the historical and cultural contexts which inform the artists of the Contemporary Native American Art Movement. Finally, students will learn how to look at, interpret, understand, and write about the works of contemporary Indigenous artists in the United States and Canada. | Gail Tremblay | Mon Tue Thu | Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
Robert Esposito
Signature Required:
Winter
|
Program | FR–SRFreshmen–Senior | 16 | 16 | Day | W 16Winter | This full time program focuses on the creative process through movement, dance, and symbolic color theory. Using the Tantric chakra system as a dynamic map of progressive mind-body development, the syllabus builds on the fall 2015 program, , and leads to the spring 2016 program, . Although designed to interface effectively with these programs, it also stands on its own and new students with prior experience in movement, dance, or visual art are welcome. The program goal is twofold: to refine awareness of the student's educational and life path through performance art, and to facilitate a dynamic interplay of inner connectivity with outer expressiveness through movement to establish and enrich a sense of cooperative community. We'll explore how aesthetic color theories relate to the chakra system as an inspiration, structure, and methodology for creating dance that speaks deeply and eloquently to the human situation. We'll explore questions such as: What is my purpose or path in life? How can we nurture relationships that help achieve common goals through just and sustainable practices? How can we balance intuitive, creative imagination with concrete techniques producing verifiable results? The chakra system will be studied as both a dynamic structure for understanding human consciousness, and as a developmental process that locates, identifies, and provides methods for working with creative blocks. We will demystify chakra work to generate practical movement toward mind-body integration, clarity of intent, and a sense of community. Text and movement seminars explore the history, theory and practice of Tantric and Taoist philosophy, esoteric anatomy, artistic color theories, and dance kinesiology. Activities alternate, overlap, and integrate drawing/painting, selecting or making sound, and progressive classes in dance technique, theory, and composition in an experimental, non-judgmental, and collaborative workshop environment. | Robert Esposito | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
Robert Esposito
Signature Required:
Spring
|
Program | FR–SRFreshmen–Senior | 16 | 16 | Day | S 16Spring | The central focus of this intensive modern dance program is dance composition, including rigorous daily classes in technique, theory, composition, and performance. Compositions are evaluated on the basis of inventiveness, structure, and performance. Choreographic space, shape, time, and motion are used as metaphors for concepts and dynamics of culturally perceived sacred and profane values and meanings. Students create original choreography, drawing content from thematic program premises, their own life experience, and past interdisciplinary study. Conceptual themes include power and powerlessness, belonging and alienation, freedom and inhibition, sadness and happiness, beauty and ugliness.Activities include daily classes in Nikolais/Louis technique, theory, and improvisation; and weekly dance labs in composition, critique, and stage craft. Morning sessions include an advanced Pilates-based floor barre, standing center work stressing rhythmic precision, spatial focus, and balance, and dynamic movement in large space. Afternoon workshops rotate between movement classes in theory, improvisation, composition, text and film seminars, and performance forums in which students share work in progress for peer and faculty review. Each week has a clear theoretical premise explored daily from a technical, compositional, and axiological perspective. Choreographic craft elements of space, shape, time, and motion are explored as sociocultural metaphors ranging from the mundane to the sublime, from anxiety to ecstasy. In Week 6, a focus on stage craft is added, including small and large group work, preparing choreography for presentation, working with music, costumes, scenery, props, and lighting for dance.Lectures, films, and seminars will review the history of various art forms, and compare the creative process in dance, painting, architecture, and poetry. Seminars situate texts, film and art in critical, aesthetic, historical, and sociocultural contexts. Writing will balance creative and analytical styles, including weekly journals and debriefs. The program culminates with a public concert of selected student work. Choreography will be selected based on inventiveness, structure, and performance quality. | Robert Esposito | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Robert Esposito
|
Program | FR–SRFreshmen–Senior | 16 | 16 | Day | F 15 Fall | This is a modern dance-based program linking the major principles of dance and visual art. Dance is primarily a kinetic art based in the human body. When presented to an audience, dance is also a visual art. Our work will be hands-on, working with both physical and perceptual forces. Embodied physical forces, like gravity, time, space, effort, motion, and momentum, will be linked to visual perceptual forces like shape, perspective, line, volume, and color. Together they present an aesthetic impression that is interpreted by an audience as sensation, emotion, thought, and behavior. Using texts and movement, we will review basic anatomy, learning the musculoskeletal structure and function of major body parts by isolating and then integrating them into a whole-body movement practice serving as an instrument of artistic design. We will gradually integrate the major principles of visual art, creating dance compositions in the studio, while simultaneously designing visual components of choreography like costuming, prop and set design, lighting, staging, and presentation. Please note: This is a movement-based program and students should be prepared for continuous, disciplined and well-focused physical activity.Dance technique, practiced daily, will begin with learning an advanced Pilates “floor-barre”, building physical strength, stamina, range of motion, body awareness, and control. We will then add aesthetic dance exercises designed to refine physical movement into an expressive, fine art practice. The architecture, notation, and functionality of dance are based in Laban and Bartenieff movement analysis. Activities include a Pilates floor barre, Nikolais-Louis dance technique, dance theory/improvisation, composition, and performance, augmented by anatomical and object drawing, a study of color theory, and designing and constructing visual components of theatrical production. Previous dance experience at the beginner/intermediate level is advised. | Robert Esposito | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
Suzanne Simons
|
Program | SO–SRSophomore–Senior | 8 | 08 | Weekend | S 16Spring | Science and poetry are equally informative guides to knowledge and enlightenment, their fusion a natural consequence of the quest to make the unknown known, argue authors Erin Colfax and Nancy Gorrell in In this program, we will explore literary patterns and pedagogical practices for connecting poetry and science. For our framework, we will use the four elements of air, fire, water, and earth. Central questions include what is the relationship between poetry and science? How can poetry heighten understanding of and interest in science, and vice versa? How can scientific and mathematical concepts be applied to writing poetry? In what ways do poetry and science bring form to chaos, helping us make sense of our lives and the world? How can science poetry be woven into K-12 curricula? Our exploration of poetry will include writing in formal patterns, such as haiku, couplets, tercets, ballad stanza, villanelle and sestina. We will compare these forms to free verse through our own writing and collections of science poetry. Activities may include community poetry/spoken word events, exploring Evergreen's Natural History Collection, birding field trip, and participating at Evergreen's Science Carnival by teaching science poetry workshops to K-12 students.Credits will be awarded in poetry and science education. | Suzanne Simons | Sat | Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Lynarra Featherly
|
Program | FR–SRFreshmen–Senior | 16 | 16 | Day | W 16Winter | In this all-level winter program in experimental creative writing, sound art and psychoanalysis, we will study the sounds and markings of internal thought and affect in the forms we find them in the world, as externally expressed. We will employ several modes of theoretical, critical, and creative inquiry and expression, listening for and bringing forth our internal processes in both creative and critical products. In our work together, we will ask how do the sounds and markings of language and the language of sound shape our creative and critical output. In our writing and sound collage work, we will explore how collecting, shaping and re-shaping found language and sound might bring the surprise of self-recognition, strike a familiar chord. We will ask how working within the constraints of found or overheard material might disrupt our ability to fully articulate who we imagine ourselves to be. In an attempt to produce creative work differently, our creative writing and sound art will take up experimental procedures, e.g., using source texts and sounds as material to manipulate, distort, transform and otherwise “translate” using combinatorial play, re-structuring or de-structuring. Our psychoanalytic, literary, sonic and poetic interlocutors will likely include Kristeva, Lacan, Žižek, Michel Chion, Gertrude Stein, John Cage and Emily Dickinson.Throughout the quarter, we will closely read psychoanalytic texts as well as texts in critical, literary and sound theory. We will engage these works in seminars, small groups, lectures, and reading sessions. Our work in this program will also include a substantial art and writing studio component. Students will spend the quarter working on one sustained creative writing project and one sustained sound art project. To those ends, students will receive ample training in sound technology and guidance in working with source texts and sounds. | Lynarra Featherly | Mon Mon Tue Tue Wed Thu Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
Arun Chandra
Signature Required:
Winter
|
Program | JR–SRJunior–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | S 16Spring | Western European music has had a long development of simultaneous complexity, from the introduction during Medieval times of independent voice leading, to the multi-voiced complexity of Gyorgi Ligeti's in the 1960s. is the presence of multiple, independent musical voices, where the differences of each voice emphasize the differences of the others. It is the opposite of , in which musical lines are hierarchically bound to one another, harmonically and metrically, as in a barbershop quartet. From the 1920s through the 1940s, the anthropologists Gregory Bateson and Margaret Mead studied the cultures of the South Pacific, as well as those of North America and Europe. They traced and articulated the differences between cultures, while noting the simultaneous shared properties held between them. In the 1940s, Bateson and Mead (along with Heinz von Foerster, W. Ross Ashby, and others) began what was later called cybernetics. In our program, we will be reading papers by Bateson, Mead, von Foerester, and others. We will study the mathematical theory of information and create compositions in sound that mirror and address the complexities that these scientists wrote about, by means of the musical techniques of polyphony and voice-misleading.We will also investigate and learn how to program in the C programming language under the Linux operating system, in an attempt to create acoustic events that might begin to match the complexity of our own times, using polyphony, and study the ideas of counterpoint as shown in the compositions of J. S. Bach, Arnold Schoenberg, Gyorgi Ligeti, and contemporary composers. During the first quarter, we'll study the basics of C programming, getting familiar with the fundamentals of digital synthesis and the Linux operating system. Projects will include the creation of single-channel sound files and learning about the fundamental waveforms, additive synthesis, mixing, and frequency modulation. By the second quarter, we'll expand the work to include two-channel sounds, algorithms for equal-power panning, filtering and granular synthesis. In the third quarter, students will create 8-channel compositions, study direct waveform synthesis, and utilize all the algorithms that we studied through the year. Throughout the year, students will also be expected to write and perform vocal exercises in musical counterpoint, which they will perform in groups.There will be regular listening sessions, musical projects, and writing assignments using the writings of cyberneticians as models. The program will attend concerts of music in Seattle and Portland and give a public concert of our final compositions. | Arun Chandra | Tue Tue Wed Thu Thu | Junior JR Senior SR | Fall | Fall Winter | ||
Marianne Bailey, Marianne Hoepli and Kathleen Eamon
Signature Required:
Winter
|
Program | SO–SRSophomore–Senior | 4, 12, 16 | 04 12 16 | Day | F 15 Fall | W 16Winter | S 16Spring | Our program will explore the productive paradoxes of Germanic sensibilities by working through foundational works in literature, philosophy, psychoanalysis, music, and visual arts from German-speaking thinkers and makers. We will be especially concerned with the unmistakable coexistence of a drive toward order, structure, technology, and systems, with an equally persistent melancholy, deep inwardness, and mysticism. Goethe’s is written in German; so, too, is the Dada The philosophical systems of Kant and Hegel, for example, feed Nietzsche’s critical tongue. Freud and the psychoanalytic tradition name and analyze the chaotic forces of human depths decades after German Romantics intimated and sang praises of that darkness, figuring its caves, jewels, and labyrinths in their poems and paintings. The operatic wave of Wagnerian ritual “Gesamtkunst” (total art) joins, in the German canon, the ethereal choirs of medieval mystic, Hildegard of Bingen, and the perfect symmetry of a piece from Mozart. We will ask what in this dual mentality allowed the rise of fascism, and how the artists and thinkers who opposed it and came of age in its wake were radically changed in their understanding of their language, their work, themselves, and their notions of art and of humanism. In fall and winter quarters, we will work across a long history, drawing from the Medieval and Renaissance eras with the aim of better understanding German Romantic literature, art, and philosophy of the late 18th and 19th centuries, and studying that period in turn so that we can approach works from 20th-century moderns, as well as works by outsider artists found in the fringe galleries and theaters in contemporary Berlin. Language study (beginning and intermediate) will be integral to our work for all students who plan on traveling to Germany in spring quarter. Spring quarter will include further language, philosophical, and cultural study, as well as significant individual project work. Students may elect to travel to Germany for nine weeks of field study, first in Berlin for intensive language and cultural studies, and then on excursions into, for example, Austria, Switzerland, and southwestern Germany during students’ “ (walking time). In Berlin, we will continue our historical trajectory with an emphasis on works of post-modernity and the situation of the contemporary European and world city, studying Berlin’s art, music, drama, and architecture. During the students will pursue their self-designed curriculum incorporating travel and cultural research; a portion of winter quarter will be devoted to developing those projects. Students on campus will engage a version of the all-program syllabus while developing their own individual projects with the support and help of faculty and one another. These students will have their own version of the when they can make field trips of their choosing. These might include touring independent poetry publishers, traveling to a nearby or distant museum or archive important to their research, or wandering the mountains or seashore reading and writing about the German Romantic poets and thinkers like Nietzsche, Novalis, or Hesse. All students will join together at year’s end to present their spring experiences and projects. This program will offer advanced work in the humanities and excellent preparation for graduate work. | Marianne Bailey Marianne Hoepli Kathleen Eamon | Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
Arun Chandra
|
Course | FR–SRFreshmen–Senior | 4 | 04 | Day | S 16Spring | This class will meet once a week to discuss a series of readings that address art, cybernetics, and their interrelationship. The quarter will end with participation in the conference of the (in Olympia) during week 10. The reading list will contain: Students will be asked to write a short paper making connections between the readings. | Arun Chandra | Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Carri LeRoy and Lucia Harrison
|
Program | FR ONLYFreshmen Only | 16 | 16 | Day | F 15 Fall | This interdisciplinary science and visual arts program is focused on rivers, streams, and watersheds and is designed for beginning students in art and ecology. Students will explore the role of art and science in helping people develop a deep and reciprocal relationship with a watershed. We will study physical stream characteristics that affect the distributions and relationships among biological organisms. We will develop observational skills in both art and science as well as keep illustrated field journals that are inspired by a connection to a specific stream.The first half of the program focuses on the Nisqually River watershed. Through readings and field studies, 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. We will work with local K-12 schools to conduct water quality testing, identify aquatic macroinvertebrates, and provide environmental education to elementary school students. The study of freshwater ecology will include basic water chemistry, stream flow dynamics, primary productivity, organic matter and nutrient dynamics, aquatic insect taxonomy, ecological interactions, current threats to freshwater ecosystems, and ecological restoration. The program will focus on current research in riparian zones, streams, rivers, and watersheds. Students will have opportunities to be involved in small-scale group research projects in stream ecology. An overnight field trip will be organized to provide in-depth experiences in the field and study of rivers on the Olympic Peninsula.Students will develop beginning drawing skills and practice techniques for keeping an illustrated field journal. They will work in charcoal, chalk pastel, watercolor, and colored pencil. They will explore strategies for using notes and sketches to inspire more finished artworks. Through lectures and readings, students will study artists whose work is inspired by their deep connection to a place. Each student will visit a local stream regularly and, in the second half of the quarter, will create a series of artworks or an environmental education project that gives something back to their watershed. | Carri LeRoy Lucia Harrison | Freshmen FR | Fall | Fall | |||||
Miranda Mellis and Alejandro de Acosta
|
Program | FR–SRFreshmen–Senior | 16 | 16 | Day | W 16Winter | This interdisciplinary humanities program engages concepts and new fields of inquiry that emerge at the crossroads of philosophy, anthropology, queer studies, postcolonial studies, and literature. We invite participants to be curious about ideas that are shaped directly as a consequence of crossing disciplinary borders. To speculate is to contemplate, to wager, and to wonder. To begin speculating on everything we’ll think through the figure of inconstancy (frequent and irregular change), as it has been applied to some humans, all humans, and nature or cosmos generally. We’ll use diffraction as a method, aiming to cross and combine disciplines and discourses with courage and care. We’ll study tendencies, dispositions, manifestations and conceptual infrastructures in philosophical discourses and literary texts that turn towards the catastrophic (a downturn, a sudden ending, a radical change), positing new forms (of writing, being, and thinking) that, among other things, aim to decenter the human and posit non-anthropocentric perception.Our index will include readings in Queer Ecology, New Materialism, experimental and anti-colonial literature, and early Soviet utopian scientific, philosophical, and architectural projects. Writing practices will entail a focus on the essay as a capacious, multifarious literary form and will include occasional creative writing experiments. We will cultivate the art of the seminar as critical inquiry, and care will be taken to support participants in developing and deepening reading and writing skills. We will participate in a multi-program, bi-weekly lecture series looking at the anthropocene and climate change from multiple disciplinary perspectives. Readings to include works by Oswald de Andrade, Alexander Bogdanov, Giordano Bruno, Eduardo Viveiros de Castro, Allison Cobb, Claire Colebrook, Michelle Detorie, Thalia Field, Donna Haraway, Robert Kocik, Quentin Meillasoux, Montaigne, Timothy Morton, Lorine Niedecker, Andrey Platonov, Leslie Scalapino, McKenzie Wark, and others. | Miranda Mellis Alejandro de Acosta | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
Shaw Osha (Flores) and Evan Blackwell
Signature Required:
Spring
|
Program | FR–SRFreshmen–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | S 16Spring | This is an entry-level visual arts program emphasizing 2- and 3-D studio practices, art history, visual literacy, artistic research, and writing. We will delve intensively into the development of studio skills in design, ceramics, sculpture, mixed media, life drawing and painting, and monotype printmaking, while exploring how these material gestures express content. As a working group, students will engage in an art practice that explores what it means to be in conversation with art history and the sociopolitical world, drawing encouragement and influence from a greater community of artists, philosophers, writers, and social critics.The program is designed to support students interested in the visual arts, as well as those who are curious about visual literacy and want to experience using materials as an approach to inquiry and expression. No prior art experience is necessary, but enthusiasm, curiosity, and a strong work ethic are required. Students should be prepared to dedicate at least 40 hours per week to studio work and rigorous reading and writing on topics related to the concepts of 20th- and 21st-century art history and critical theory. Students will be exposed to an interdivisional approach to visual arts that includes both art and humanities work: studio work; art history; visual/cultural studies, including literature, philosophy, and history; and a significant writing component.Fall and winter quarters will provide students with basic studio experience with several material approaches and will offer design and drawing workshops. Students will work in either 2-D or 3-D fall quarter, switching to the other medium in winter. There will be visits to regional museums and we will attend the Art Lecture Series. In the spring, students will have the opportunity to apply their learning to individual projects, utilizing knowledge and skills gained over fall and winter. There will also be an opportunity to go to New York City for three weeks to attend the Whitney Biennial, visit artists' studios, attend talks, and draw from observation at the Metropolitan Museum of Art. By the end of this program, students will understand how one engages with an art community to share support and inspiration, and how the artist’s work expands beyond that community and connects to critical issues. Students will begin to imagine how to situate their own projects in terms of the world around them. | Shaw Osha (Flores) Evan Blackwell | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | |||
Gilda Sheppard and Carl Waluconis
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Program | FR–SRFreshmen–Senior | 8, 16 | 08 16 | Day and Evening | Su 16 Summer | This program will explore the role that movement, visual art, theater, music, and media can play in problem solving and in the resolution of internalized fear, conflicts, or blocks. Through a variety of hands-on activities, field trips, readings, films/video, and guest speakers, students will discover sources of imagery, sound, and movement as tools to awaken their creative problem solving from two perspectives—as creator and viewer. Students interested in human services, social sciences, media, humanities and education will find this course engaging. This course does not require any prerequisite art classes or training. Students may attend either day or evening sessions; first, second or full sessions for 8 or 16 credits accordingly. | Gilda Sheppard Carl Waluconis | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Gilda Sheppard and Carl Waluconis
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Program | FR–SRFreshmen–Senior | 8, 16 | 08 16 | Day and Evening | Su 16 Summer | This program will explore the role that movement, visual art, theater, music, and media can play in problem solving and in the resolution of internalized fear, conflicts, or blocks. Through a variety of hands-on activities, field trips, readings, films/video, and guest speakers, students will discover sources of imagery, sound, and movement as tools to awaken their creative problem solving from two perspectives—as creator and viewer. Students interested in human services, social sciences, media, humanities and education will find this course engaging. This course does not require any prerequisite art classes or training. Students may attend either day or evening sessions; first, second or full sessions for 8 or 16 credits accordingly. | Gilda Sheppard Carl Waluconis | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Shaw Osha (Flores)
Signature Required:
Fall Winter Spring
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Research | SO–SRSophomore–Senior | V | V | Day | F 15 Fall | W 16Winter | S 16Spring | 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. (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. | Shaw Osha (Flores) | Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | |||
Kathleen Eamon
Signature Required:
Fall Winter Spring
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Research | SO–SRSophomore–Senior | 0, 16 | 0 16 | Day | F 15 Fall | W 16Winter | S 16Spring | 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. | Kathleen Eamon | Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | |||
Hirsh Diamant
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Course | FR–SRFreshmen–Senior | 4 | 04 | Evening | S 16Spring | 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 approaches to 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, Photoshop, animation/video, and presentation software. | Hirsh Diamant | Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring |