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Term
Time & Day Offered
Level
Credits
Course Duration

Topics in Applied Philosophy: War — PHI2140.01

Fall 2014
Instructor: paul voice
Days & Time: TBA
Credits: 2
This course examines philosophical debates concerning war. In particular, we will look at the distinction between just and unjust war, as well as moral issues concerning the use of military technologies such as drones, and arguments for humanitarian military interventions. This course will be offered the first seven weeks of term.
Social Science

Topics in Ceramic History: Global Perspectives — CER2148.01

Fall 2023
Instructor: Anina Major
Credits: 4
The study of ceramics is the study of human history in all of its cultural diversity, from artisanal pottery to highly sophisticated modern product design or contemporary sculpture. This course will explore ancient, indigenous and historical ceramics with lectures and discussions around clay materials, technology, art, and culinary traditions.
Visual Arts

Topics in Video Game Programming — CS4113.01

Spring 2021
Instructor: Justin Vasselli
Credits: 4
Video Game development draws on many different sub-disciplines of computer science.  The game engine that the game is built on is a combination of graphics and physics programming; non-player characters, both friend and foe, are driven by Artificial Intelligence;  network programming connects players from across the room to across the globe.  This course will
Science and Mathematics

Topics In Video: Experimental Documentary — FV4236.01

Spring 2020
Instructor: Kate Purdie
Credits: 4
This course explores documentary possibilities through screenings and video projects. The class will look at and consider non-fiction techniques from early cinema verite films to recent attempts to address point of view and outsider status in documentary and experimental video work. In collaborative and individual projects, the class will take a hands-on approach to documentary
Visual Arts

Topology — MAT4220.02

Fall 2020
Instructor: Andrew McIntyre
Credits: 4
On the surface of a doughnut, there are fundamentally two different ways to wrap a closed path on the surface (through the whole or around the ring); every possible way is a combination of these two. This doesn’t depend on the exact dimensions of the doughnut. For another example, a loop of string tied into a trefoil knot can’t be deformed into a square knot. Topology can be
Science and Mathematics

Topping it Off — DRA2138.01

Spring 2015
Instructor: Richard MacPike
Credits: 2
Nothing can inform, conceal or embellish like a hat. Students in the course will learn about a variety of millinery techniques and materials by making a series of hats.
Drama

Topping It Off — DRA4115.01

Fall 2018
Instructor: Richard MacPike
Credits: 2
Nothing can inform, conceal or embellish like a hat. Students in this course will learn a variety of millinery techniques through the making of buckram, wire framed, and felt hats.
Drama

Topping It Off — DRA2138.01

Spring 2023
Instructor: Richard MacPike
Credits: 2
Nothing can inform, conceal, or embellish like a hat. Students in this course will learn about a variety of millinery techniques and materials by making a series of hats.
Dance Drama

Total Theory — HIS4215.01

Spring 2015
Instructor: Jonathan Pitcher
Credits: 4
Whether we love theory or hate it, rejecting it on the basis of a lack of understanding of its esoteric hermeneutics or jargon isn’t really a viable position, and certainly not an excuse. It’d be nice to know why, thus debating it on its own terms and perceiving its implications in all manner of contexts beyond them. The plan is to give at least an introduction to historicism,
Social Science Literature

Total Theory — SCT4111.01) (new course code as of 11/2/2021

Spring 2022
Instructor: Jonathan Pitcher
Credits: 4
Whether we love “theory” or hate it, rejecting it on the basis of a lack of understanding of its esoteric hermeneutics or jargon isn’t really a viable position, and certainly not an excuse. It’d be nice to know why, thus debating it on its own terms and perceiving its implications in all manner of contexts beyond them. The plan is to give at least an introduction to historicism
Society Culture and Thought

Total Theory — HIS4215.01

Spring 2017
Instructor: Jonathan Pitcher
Credits: 4
Whether we love “theory” or hate it, rejecting it on the basis of a lack of understanding of its esoteric hermeneutics or jargon isn’t really a viable position, and certainly not an excuse. It’d be nice to know why, thus debating it on its own terms and perceiving its implications in all manner of contexts beyond them. The plan is to give at least an introduction to historicism
Society Culture and Thought

Toward a Just Transition — ENV2121.01

Spring 2026
Instructor: John Hultgren
Days & Time: TU,FR 10:30am-12:20pm
Credits: 4

How do we transition to a low-carbon economy in a manner that doesn’t reinscribe the social and environmental injustices that have plagued our fossil-fueled economy? On one hand, the continued burning of fossil fuels is producing environmental crises that threaten to destabilize the very foundations of collective life, with poor and historically

CAPA Environment Society Culture and Thought

Toward a Rigorous Art History — AH2109.01

Fall 2025
Instructor: Vanessa Lyon
Days & Time: TU,FR 10:30am-12:20pm
Credits: 4

A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.”

Striking

Art History

Toward a Rigorous Art History — AH2109.01

Fall 2024
Instructor: Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance
Visual Arts

Toward a Rigorous Art History — AH2109.01

Fall 2017
Instructor: Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance
Visual Arts

Toward a Rigorous Art History — AH2109.01

Spring 2023
Instructor: Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance
Visual Arts

Toward a Rigorous Art History — AH2109.01

Fall 2019
Instructor: J Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance
Visual Arts

Toward a Rigorous Art History — AH2109.01

Fall 2016
Instructor: Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance
Visual Arts

Toward a Rigorous Art History — AH2109.01

Fall 2021
Instructor: Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance
Visual Arts

Toward a Rigorous Art History — AH2109.01

Spring 2017
Instructor: J. Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance
Visual Arts

Toward a Rigorous Art History — AH2109.01

Fall 2018
Instructor: J. Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance
Visual Arts

Toward a Rigorous Art History — AH2109.01

Fall 2023
Instructor: Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance
Visual Arts

Traces, Mistakes, and Leftovers — Canceled

Spring 2015
Instructor: Mary Lum
Credits: 4
The role of drawing has changed over the history of art, from primitive recording to preliminary sketch, to documentation, to works that function independently. How can we expand these categories to include the remnants of the making process. Can the research done before a project, the many mistakes made in process, or the discards left after completion of an artwork be
Visual Arts