2015–16 Undergraduate Index A–Z
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Media Arts [clear]
Title | Offering | Standing | Credits | Credits | When | F | W | S | Su | Description | Preparatory | Faculty | Days | Multiple Standings | Start Quarters | Open Quarters |
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Steve Davis
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Program | FR–SRFreshmen–Senior | 8 | 08 | Day | Su 16 Session II Summer | This class is an introduction to photographic expression using contemporary photographic techniques, and will explore the usage of photography through social media, archival inkjet printing, multimedia, and on-demand print publishing. Students will learn to use prosumer and professional grade full-frame and medium format cameras. You will learn to edit and manage collections with Adobe Lightroom and Photoshop, and work in Photoland’s photography studios. You will have full access to the Digital Imaging Studio and to our darkroom facilities. Digital cameras are available through Media Loan. Class requirements include scheduled assignments, research, and a final project consisting of new, photographically-derived, digital work—selections of which will be printed in book form, and made available to you. | Steve Davis | Mon Tue Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Julia Zay
|
Program | JR–SRJunior–Senior | 16 | 16 | Day | F 15 Fall | We are living in the archive. The 21st century, age of the digital and of infinite information horizons, offers particularly fertile conditions for future artists, writers, curators, and educators to meet, collaborate, and reinvent their identities as cultural workers, memory agents, and experimental pedagogues. This program is designed to support students in the arts and humanities who are interested in forging a practice that combines creative and critical engagement with questions of memory, the writing of history, the document and the object, the history of exhibition and display, the gallery, museum, and archive.We will investigate the ways that cultural institutions, including museums, ethnographic films, and documentary photography have written "official" histories; our own creative experiments will be directed toward critiquing and intervening in these visual narratives by working closely with archival materials. Our studios and laboratories will often be museums and archives; we will visit museums in Seattle and Portland, and we will spend time almost every week in a local archive, getting to know the Washington State Archives here in Olympia as artist-researchers.This is an advanced program for students who are looking to develop their own research-based artistic practice and who want to pursue small-scale individual or collaborative projects within the context of a program structured around supporting that work through lecture/screenings, presentations, weekly writing workshop and project critique, and seminars on common readings. Students will plan independent work for the quarter under faculty guidance. Students will also share in leading class sessions that may include regular work-in-progress presentations, seminar facilitation, and other presentations of research related to program themes. Projects supported: critical/creative writing (we will do our best to blur the line between these), non-traditional writing for the moving image and performance, video and film, photography, and other visual arts.Students interested pursuing an in-program internship as part of their academic work in the program should register first, then research their options and contact the faculty to discuss further. | Julia Zay | Junior JR Senior SR | Fall | Fall | |||||
Zenaida Vergara
Signature Required:
Fall Winter
|
Course | SO–SRSophomore–Senior | 4 | 04 | Evening | F 15 Fall | W 16Winter | This sequence of courses introduces the subject of audio production and its relation to modern media. Fall quarter will focus on analog mixers and magnetic recording with some work in digital editing. Main topics will include field recording, digital audio editing, microphone design and application, analog multi-track recording, and audio console signal flow. Winter continues this work while starting to work with computer-based multitrack production. Additional topics will include acoustics, reverb, and digital effects processing. Students will have weekly reading assignments and weekly lab assignments outside of class time. | Zenaida Vergara | Wed | Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
Lynarra Featherly
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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 | ||||
Anne Fischel, Michi Thacker and Grace Huerta
Signature Required:
Winter
|
Program | SO–SRSophomore–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | In this program students will develop skills to support collaboration and learning with local communities, including the study of education, media and qualitative research methods. Our starting place will be the identification of local knowledge: how communities view themselves; their sense of place, history and identity; the issues that challenge them and the solutions they envision. In these days of globalization, mass marketing and celebrity, what people know at the local level is often trivialized or ignored. We will explore the dynamics of community life through collaborative efforts with people in our region as they work to create sustainability and justice.Our program is largely focused on Mason County. One of our goals is to build a place-based, multi-disciplinary portrait of this complex region. We’ll learn about local history and changes in livelihood, study the distinctive ecology of the region, and explore community cultures and traditions. By learning about literacy, immigration, K-adult education, and economic development, we’ll develop our sense of global context in relationship to local experience and action. We’ll learn about organizations and individuals that are tackling issues in innovative ways. Our work will be informed by perspectives from popular education and community-based research that represent respectful, effective approaches to community work. Workshops will be offered in qualitative research, ethnographic observation, documentary video, art as activism, ESL methods, grant writing, media literacy, and oral history.In fall we’ll learn about people and organizations doing significant work in the region. Once a week, classes will be held off campus, and students will be able to observe and collaborate with Mason County school and community programs. Students will explore the importance of dual language programs and culturally relevant pedagogy to a diverse, changing community. We will develop case studies of the region, contextualized by research drawn from other areas of the United States. Through these studies we’ll build a foundation for collaborative community work.In winter we will continue developing research and media skills. We’ll deepen our understanding of how culture, language and place shape personal and social identity. We’ll continue working with organizations that are building sustainability and justice in Mason County. We’ll carry out community-based collaborative projects that put into practice the skills, knowledge and relationships we have developed. | Anne Fischel Michi Thacker Grace Huerta | Mon Tue Thu | Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
Laurie Meeker
Signature Required:
Fall Winter
|
Program | JR–SRJunior–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | S 16Spring | This advanced offering in the media arts is for students interested in working individually or collaboratively on yearlong media projects with the support of a learning community. The studio setting provides students with the opportunity to help shape one another's work through extensive critical review of ideas at each stage of production and through technical support on one another’s projects. Engagement with critical theory on representation informs each student’s creative approach to their media production work. The creative work produced over the year is research-based. Each media artist or collaborative team will engage in extensive research and writing to develop and support their creative ideas, including research papers, grant writing, script outlines, etc. A wide range of media projects and genres are possible, with a focus on creative nonfiction and documentary, as long as the media artist(s) demonstrate a strong foundation for potential success in that genre. Past participants have created participatory/interactive documentary, experimental film/video, autobiographical video, experimental narrative, essayistic video, animation, online documentary series, mixed media gallery installation, remix political satire, interactive Web installation, as well as standard documentary. Students are expected to build on existing skills developed in past academic work, developing advanced production skills rather than undertaking wholly new areas of media production. Participants work closely with one another throughout the year as co-learners and collaborators, collectively shaping the output of the studio and developing a program of shorts to be screened to the public at the end of spring quarter.An integrated approach to media history/theory and production is essential to the development of advanced media work. Students will explore strategies of representation through readings, screenings seminars, and research presentations, continuing to build their skills in critical thinking and critical analysis. Individual research projects will explore contemporary media artists who have made special contributions to the development of experimental media practice. Students will also conduct research into new and old media technologies, presenting their findings to the group. Students will continue to develop their production skills through workshops, exercises, and a collaborative project. Cinematography workshops will deepen student understanding of light, exposure, and image quality in the 16mm format and/or HD digital video. Audio production workshops will be offered to expand student expertise with sound design and technology.Fall quarter involves a period of reflection, research, and idea development, including a two- to three-day retreat for concentrated work. Students are asked to think broadly about their work, to research and explore a number of project ideas before settling on the final topic. During winter quarter, the focus will shift from idea development to the production phase, when students will acquire all their images and production materials. The critique process will be a central focus for the learning community during winter and spring, requiring students to participate regularly in the critical analysis of one another’s creative work. During spring, each student will complete post-production work, engage in extensive critique sessions, and participate in producing a public screening of their work. | Laurie Meeker | Junior JR Senior SR | Fall | Fall Winter | |||
Peter Randlette and Laurie Meeker
Signature Required:
Fall
|
Program | JR–SRJunior–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | S 16Spring | This academic program is the home for the Evergreen Electronic Media Internships (also known as Media Services Internships). The EM Internships provide advanced students opportunities to gain deep knowledge of specific media concepts and skills in the context of a tightly knit cohort who collaborate on developing academic and creative research agendas that parallel and are informed by their work as interns. Students will work 30-40 hours per week earning 12-14 credits as an intern in one of the following areas: Animation/Imaging, Audio, Media Loan, Multimedia Lab, Music Technology, Production, Video Production and Video Post-production. Each intern develops instructional, technical, research, organizational, leadership, communication and collaborative skills as they work with supervising staff associated with each of these areas to support instruction, maintenance and administration of facilities and to fulfill campus production needs.This program also involves a two-credit academic component in the fall and a four-credit academic component in winter and spring. Students will focus their academic work on individual research into the critical history/theory of specific media technologies with an emphasis on social, cultural and economic influences on their development and adoption by both mainstream and alternative producers. As they expand their practical and theoretical knowledge of media technologies interns will examine their own roles as producers, artists, teachers and leaders through Academic Statement work and other reflective writing. Students will have the opportunity to work both collaboratively and individually on creative projects involving media production. Interns meet weekly as a group with staff or faculty to share skills, seminar on readings or screenings, peer review writing, collaborate on projects, and work together on productions and cross-training in all Media Services areas. The EM Internship program requires a yearlong commitment from fall to spring quarters.For more details, including information about prerequisites for each specific internship and how to apply, please refer to . | Peter Randlette Laurie Meeker | Junior JR Senior SR | Fall | Fall | |||
Naima Lowe and Julie Russo
Signature Required:
Fall
|
Program | SO–SRSophomore–Senior | 16 | 16 | Day and Evening | F 15 Fall | W 16Winter | S 16Spring | What does it mean to make moving images in an age of omnipresent media, information overload, social inequality, and global capitalism? What's the relationship between aesthetic form and power across race, class, gender, and other axes of difference? How can we understand the interplay between popular media and experimental modes? How do we critically engage with the history and traditions of media practices while testing the boundaries of established forms? What responsibilities do media artists and producers have to their subjects and audiences? How can media makers represent or transform the “real” world? Students will engage with these questions as they gain skills in film/video/television history and theory, critical analysis, media production, collaboration, and critique.This full-time, yearlong program links media theory with practice. We will explore a variety of media modes and communication strategies, primarily interrogating representations of the "real” in media texts spanning the continuum between popular entertainment and artistic practice. As creative critics, we will gain fluency in methodologies including: close reading and formal analysis; mapping narrative and genre; unpacking power from feminist, critical race, decolonial, and anti-capitalist perspectives; and cultural, historical, and technological framing of commercial and independent media production. These analytical skills will help us understand strategies that artists have employed to challenge, mobilize, and re-appropriate mainstream media forms. As critical creators, we'll learn foundational production skills and experiment with alternative approaches, including nonfiction, video art, writing for and about media, autobiography, essay films, remix, installations, and performance. In addition to production assignments, program activities will encompass analysis and criticism through screenings, readings, seminars, research, and critical writing. We'll also spend significant time in critique sessions discussing our creative and critical work.In fall, students will explore ways of seeing, listening, and observing in various formats, focusing intensively on 16mm film production and completing both skill-building exercises and short projects. These collaborative exercises and projects will have thematic and technical guidelines consistent with the program curriculum. Our production work will be grounded in the study of concepts and methodologies from media history and theory, including significant critical reading, research, and writing. In hands-on workshops and assignments, we'll analyze images as communication and commodities and investigate how images create and contest meaning in art, politics, and consumer culture.In winter, students will delve deeply into field- and studio-based video/audio production and digital editing, using the CCAM studio and HD video technologies. We'll do this learning in conjunction with studying the social and technological history of television and video. Our production work will be primarily collaborative, though students will conclude the quarter by working on an independent project proposal.In spring, as a culmination of the conceptual, collaboration, and production skills developed in fall and winter, each student will create an independent project. Possible forms include video or film, installation, web-based projects, research projects, and internships. Technical workshops, screenings, research presentations, and critique discussions will support this emerging work. | Naima Lowe Julie Russo | Sophomore SO Junior JR Senior SR | Fall | Fall | |||
Terry Setter
|
Program | FR–SRFreshmen–Senior | 16 | 16 | Day | Su 16 Summer | This class provides instruction in the use of digital recording studio equipment, microphone design and placement techniques, mixing console design, signal flow, monitoring techniques, room acoustics, and signal processing. There will be written assignments based upon readings in Huber's , and students will present research on topics related to audio production. In addition to the in-class activities, students will do at least 50 hours of recording and familiarization work in teams of two people each. We will record local musicians and produce finished mixes of the sessions. | Terry Setter | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Hugh Lentz
|
Course | FR–SRFreshmen–Senior | 4 | 04 | Evening | F 15 Fall | This course emphasizes beginning-level skill development in camera function, exposure, and black-and-white film development and darkroom printing. We will focus on photography's role in issues of the arts, cultural representation, and mass media. Students will have assignments, critiques, collaborations, and viewing of work by other photographers. Each student will complete a final project for the end of the quarter. | Hugh Lentz | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
Steve Davis
|
Course | FR–SRFreshmen–Senior | 4 | 04 | Evening | S 16Spring | This course emphasizes beginning-level skill development in camera use, lighting, exposure, b/w film and print processing. We will also briefly explore digital photography techniques. The essential elements of the class will include assignments, critiques and surveys of images by other photographers. Students of this class will develop a basic understanding of the language of photography, as a communications tool and a means for personal expression. Students must invest ample time outside of class to complete assignments. | Steve Davis | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Hugh Lentz
Signature Required:
Winter
|
Course | FR–SRFreshmen–Senior | 4 | 04 | Evening | W 16Winter | In this course we'll be learning to print from color negatives, work with medium format cameras, photograph with electronic flash and work in the studio environment. There will be assignments, critiques, and viewing the work of other photographers. All assignments and all work for this class will be in the studio with lighting set-ups. In addition to assignments, each student will be expected to produce a final project of their own choosing and turn in a portfolio at the end of the quarter. | Hugh Lentz | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
Steve Davis
|
Course | SO–SRSophomore–Senior | 4 | 04 | Evening | F 15 Fall | This course will introduce students to photographic practice through digital means. A brief introduction to digital video will also be included. Students will create work as exhibition-quality prints, and also create a photographic portfolio for the Web. | Steve Davis | Tue Thu | Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
Steve Davis
Signature Required:
Winter
|
Course | SO–SRSophomore–Senior | 4 | 04 | Evening | W 16Winter | This class will explore how photography can be effectively used as a tool for creative documentation. You may work in any photographic mediums with which you are experienced (conventional B/W, color, digital). Students will be expected to maintain an online blog/web gallery showing in-progress photography with appropriate text. Final projects must address a particular topic (from your perspective) and clearly communicate your message to a broad audience. | Steve Davis | Tue Thu | Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
Hugh Lentz
Signature Required:
Spring
|
Course | SO–SRSophomore–Senior | 4 | 04 | Evening | S 16Spring | This is an intermediate to advanced class where students will be using older photographic methods and techniques. We’ll be spending a significant part of this class learning about and using view cameras. Additionally, we'll be working with UV printing, lith films, pinhole cameras, and more. There will be assignments based in these processes, and each student will produce a final project. We’ll also look at the work of contemporary and historical artists using these methods. | Hugh Lentz | Mon Wed | Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Arlen Speights and Richard Weiss
|
Program | FR–SRFreshmen–Senior | 8 | 08 | Day | Su 16 Session II Summer | Physical computing is computing that interacts with the physical world. We will explore this in multiple forms, emphasizing the interconnections among 3D printing, robotics, interactivity, and microcontrollers. This program can be an introduction to programming, integrating the arts, engineering and computing. It is also open to students who want to explore more advanced work in computing and robotics.Students will learn how to program and connect Arduino microcontrollers, connecting programming with sensors, motors and displays, e.g., to build interactive devices. For Robotics, we will explore programming, image processing, and AI. One of the robots we will use is the Scribbler by Parallax. Students will work on a project in groups after learning the basics about the robot. They will also learn the fundamentals of programming in Python, which is a powerful scripting language. This is ideal for students who have programmed in another language. Students will develop an understanding of the object-oriented programming paradigm, program design, and problem solving. Students can also find parts for their work at thrift stores, then integrate them using 3D printed interconnections. Students will develop final projects that use the systems above, with the option to explore other areas such as the Raspberry Pi computer or wireless mobile devices. | Arlen Speights Richard Weiss | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Anne de Marcken (Forbes) and Alejandro de Acosta
|
Program | JR–SRJunior–Senior | 16 | 16 | Day | F 15 Fall | In this program, students will interrogate and generate queer narratives by thinking through narrative aspects of queer concepts and theories and discovering what is (or can be) queer in various narrative forms.To take on this work we’ll engage with some foundational texts of queer theory as well as its contemporary articulations, addressing themes of sex and gender, queer and trans subjectivities, race and culture, drugs and technology, visibility and opacity, and many possible political articulations of a queer sort. In addition, a variety of critical, literary, lyrical, and cinematic texts that push and problematize conventions of narrative will serve as foci for inquiry and for inspiration.We’ll combine lectures, seminars, readings, screenings, and workshops to build a foundation in theoretical modes of reading, writing, and discussion as well as to develop technical skills in creative writing and media.Students will place their work in a critical context in order to consider whether queerness and narrative—both the body and the body of work—are “natural”, constructed, or something else entirely. | Anne de Marcken (Forbes) Alejandro de Acosta | Mon Mon Wed Thu Thu | Junior JR Senior SR | Fall | Fall | ||||
Joli Sandoz and Lori Blewett
|
Program | SO–SRSophomore–Senior | 8 | 08 | Evening | S 16Spring | Add sound effects and music together with a voice speaking words, and there you have one of radio’s most popular features today: creative audio documentary. This program will focus on writing nonfiction documentaries and researched essays and bringing them alive with sound. Participants will learn how to write, record, perform, and edit creative and engaging nonfiction audio programs and podcasts. Radio programs themselves will be among our texts as we discover the variety of nonfiction currently airing. Online archives of audio essays will provide opportunity to analyze not only specific mixes of words and sound, but also the ways in which making meaning with words must be shaped to match radio’s one-time-only quality, with careful word choice and directness, brevity, rhythm, and pacing. Writing and speaking workshops will focus on developing effective skills for oral story-telling and description as these contribute to meaning-making in audio communication. Basic audio recording and editing workshops also will be provided. This program is especially well-suited to students who have some familiarity with audio technology and for those who have strong interest in a specific topic they'd like to share with others. Students may have the option of airing their work on community radio or through other public forums. | Joli Sandoz Lori Blewett | Wed Sat | Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Ron Smith
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Program | FR–SRFreshmen–Senior | 8 | 08 | Day | Su 16 Session I Summer | This course is an opportunity for collaborative media production between students in Gaza and at Evergreen. We will explore means of low-budget video production using the tools many students have at hand, as we develop an eye for media critique and responsible use of images to tell stories, while simultaneously developing strong personal bonds between groups in dramatically different places and contexts. This course is an experiment for effecting social transformation through new media communication.In this course, we will work together with peers in the Gaza Strip to create a series of short videos exploring our own relationships with themes we find important in our own lives and how we relate with the rest of the world. Such themes could include the meanings of water, food, culture, gender, transportation and politics, ideas that we so often take for granted, but have dramatically different meanings dependent on the geography. Students will work with video editing software to create short, complex video narratives that deal with the topics at hand. Students will also explore the ways to get the best quality video out of the tools they have at hand, using common devices such as camera phones and tablets to document serious topics.Classes will combine lectures, seminars, and workshops, as well as group discussion sessions with peers in Gaza. Students will be expected to contemplate readings on the nature of the media and our perceptions of the Middle East and to develop a powerful theoretical and practical vision for creating a vision of solidarity through digital media. Videos produced in this class will be posted on a public website to foster continued conversation about the topics chosen.This course is open to students with any level of knowledge of the middle east and any level of video production proficiency. Beginning students will be exposed to basic media production skills and to the foundations of media criticism made real through their own production. Advanced media students will be able to convert their high-level production skills to an easily-available medium and will be able to put their ideas about creating critical media into action. | Ron Smith | 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 | ||||
Gilda Sheppard and Carl Waluconis
|
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 | ||||
Naima Lowe, Anne de Marcken (Forbes), Shaw Osha (Flores) and Kathleen Eamon
Signature Required:
Fall Winter Spring
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Program | SO–SRSophomore–Senior | V | V | Day, Evening and Weekend | 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. (creative writing and digital media) uses creative writing and digital media as methods of narrative inquiry into questions of presence and absence, disappearance and emergence, loss, survival, and memory. Her process-based work results in short stories, personal essays, moving image narratives, sometimes web environments, and often hybrids of these forms. Her current areas of inquiry include climate change, the interactions of place and identity, and the experience of survival. She is presently working on a multimedia narrative installation and a feature film. Students working with Anne will have opportunities to work on one or both of these projects. Depending upon project phase at the time of enrollment as well as individual students’ strengths and interests, activities may include research, installation design and construction, text-based work, and/or audio-video post production. (social and political philosophy, aesthetics, philosophy of art) has interests in German idealism (Kant and Hegel), historical materialism (Marx, 20th-century 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 will 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 will 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. Students are generally best equipped for this option if they have taken at least one full year of studies in Media or Visual Arts in a program such as MediaWorks, NonFiction Media, or its equivalent. (visual art) works in painting, photography, drawing, writing, and video. She explores issues of visual representation, affect as a desire, social relationship, and the conditions that surround us. She is currently working on a project based on questions of soul in artwork. Students working with Shaw will have opportunities to learn about artistic research, critique, grant and statement writing, website design, studio work, and concerns in contemporary art making. | Naima Lowe Anne de Marcken (Forbes) Shaw Osha (Flores) Kathleen Eamon | Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | |||
Anne de Marcken (Forbes)
Signature Required:
Fall Winter Spring
|
Research | SO–SRSophomore–Senior | V | V | Day, Evening and Weekend | F 15 Fall | W 16Winter | S 16Spring | This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. uses creative writing and digital media as methods of narrative inquiry into questions of presence and absence, disappearance and emergence, loss, survival, and memory. Her process-based work results in short stories, personal essays, moving image narratives, sometimes web environments, and often hybrids of these forms. Her current areas of inquiry include climate change, the interactions of place and identity, and the experience of survival. She is presently working on a multimedia narrative installation and a feature film. Students working with Anne will have opportunities to work on one or both of these projects. Depending upon project phase at the time of enrollment as well as individual students’ strengths and interests, activities may include research, installation design and construction, text-based work, and/or audio-video post production. | Anne de Marcken (Forbes) | Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | |||
Devon Damonte
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Program | FR–SRFreshmen–Senior | 8 | 08 | Day | Su 16 Session II Summer | In direct animation, a century-old camera-less form, artists use painting, scratching and myriad techniques not recommended by manufacturers to animate on motion picture film. It is an analog fine art offering experiential liberation from increasingly digital visual cultures. In this intensive hands-on class students practice numerous methods of direct animation including darkroom hand-processing, and invent their own techniques to create lots of footage in a short time, while studying genre masters like Len Lye, Norman McLaren, and Barbel Neubauer. Final culminating projects will explore analog and digital methods for publicly presenting students' work in celebratory projection performance extravaganzas on campus and in downtown Olympia. | Devon Damonte | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Anne de Marcken (Forbes) and Peter Impara
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Program | FR–SRFreshmen–Senior | 16 | 16 | Day | S 16Spring | The shapes of coastlines and glaciers, the migratory paths and distribution of species, the length and character of the seasons…climate change is visible in large and subtle shifts, but still it is hard to grasp and hard to communicate. We will spend spring quarter learning to see, interpret and represent our changing world using computer mapping, spatial analysis and presentation, visual storytelling, web development, creative nonfiction, and crowd-sourced narrative. Students will develop critical, creative, scientific and technical skills as they research, analyze and interpret ecological change through readings and seminars, in writing and computer workshops, and by using the landscape itself as a classroom.This program will emphasize creativity and hands-on learning. Students will spend extended time in the field conducting structured observations, practicing site and landscape analysis and collecting the data and images they will use to shape representations of climate change. There will be two all-program, multi-day field trips: one to study the shrinking glaciers of Mt. Rainier and the other to the Olympic Peninsula coast where sea level rise and warming, increased storm action, and acidification are having dramatic effects on the coastal ecosystem. In both places we will consider the geological, ecological, cultural and economic implications of climate change.These two extended all-program field studies will provide opportunities to practice skills and expand ideas gained in workshop and seminar settings and which will inform ongoing independent work leading to a cumulative web-based project employing maps and images to tell the story of climate change. | Anne de Marcken (Forbes) Peter Impara | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | |||||
Ruth Hayes and Gerardo Chin-Leo
Signature Required:
Winter
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Program | FR–SOFreshmen–Sophomore | 16 | 16 | Day | F 15 Fall | W 16Winter | This program will examine marine environments and life from the perspectives of science and the visual and media arts, emphasizing animation. Marine life constitutes a majority of the biomass and diversity of life, and marine microorganisms play major, complex roles in global ecological processes. We will focus on these relationships and how human activity affects them. In the past century, humans have severely impacted Earth’s ecosystems, degrading habitats and over-exploiting natural resources. Some scientists have termed this period of human influence the Anthropocene. We will explore ways that science and art can increase understanding of natural phenomena and human impacts on them, contributing effectively to solving environmental problems. We will learn how artists and marine scientists use close observation, analysis, and integrative thinking to communicate important concepts and values. We will experiment with ways to represent the movements, behaviors, and functions of microorganisms, as well as the larger structures of marine environments. Artists routinely base their works on scientific findings; students will practice such research-based creative strategies to respond to and represent marine phenomena in their drawings and animation.Students will explore how marine sciences and visual arts inform each other. Lectures will present concepts and terms unique to each discipline and include creative works about and inspired by the natural world. Labs, workshops, and field trips will offer experience in marine environments and conceptual and technical skills with which to represent them in drawing and animation. Through readings, writing assignments, and seminar discussions, students will learn how scientists and artists can contribute to understanding complex natural phenomena, raising awareness of and mitigating environmental problems. Students will integrate their learning in polished thematic creative works.In fall quarter, we examine ecosystems such as estuaries, intertidal zones, and the deep sea, taking an ecological perspective and emphasizing the role of microorganisms in these habitats. Students will learn drawing and animation skills as they explore how to represent microorganisms and their activities in small- and large-scale environments. In winter, we shift focus to the diversity of marine life and how organisms have adapted to environmental changes. Students will pursue more ambitious approaches to creative representations of marine life, environments, and the challenges they face. A multi-day field trip to the Friday Harbor Marine Labs will provide hands-on experience and inspiration for students' creative projects. Both quarters, we will join with other programs in common activities focused on issues related to the Anthropocene. | Ruth Hayes Gerardo Chin-Leo | Freshmen FR Sophomore SO | Fall | Fall Winter | ||||
Gerardo Chin-Leo and Ruth Hayes
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Program | FR–SRFreshmen–Senior | 16 | 16 | Day | S 16Spring | In order to provide another entry point for students at all levels interested in animation and marine biology, Visualizing Microbial Seascapes (VMS) will explore the same themes as the fall/winter program did. This is a continuation of the fall/winter VMS program. This program examines marine environments and life from the perspectives of science and the visual and media arts, emphasizing animation. Marine life constitutes a majority of the biomass and diversity of life, and marine microorganisms play major, complex roles in global ecological processes. We will focus on these relationships and how human activity affects them. In the past century, humans have severely impacted Earth’s ecosystems, degrading habitats and over-exploiting natural resources. Some have termed this period of human influence the Anthropocene. We will explore ways that science and art can increase understanding of natural phenomena and human impacts on them, contributing effectively to solving environmental problems. We will learn how artists and marine scientists use close observation, analysis, and integrative thinking to communicate important concepts and values. We will experiment with ways to represent the movements, behaviors, and functions of microorganisms, as well as marine environments' larger structures. Artists routinely find inspiration in scientific findings; students will practice such research-based creative strategies to respond to and represent marine phenomena in drawing and animation.Lectures will present concepts and terms unique to animation and marine biology and include creative works about and inspired by the natural world. Labs, workshops, and field trips will offer experience in marine environments and conceptual and technical skills with which to represent them visually. Through readings, writing assignments and seminar discussions, students will learn how scientists and artists can contribute to understanding complex natural phenomena, raising awareness of and mitigating environmental problems. Students will integrate their learning in polished thematic creative works. | Gerardo Chin-Leo Ruth Hayes | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | |||||
Arlen Speights and Richard Weiss
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Course | FR–SRFreshmen–Senior | 4 | 04 | Evening | Su 16 Session II Summer | Arlen Speights Richard Weiss | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer |