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Term
Time & Day Offered
Level
Credits
Course Duration

Field Course in Coral Reef Biology — BIO4239.01

Fall 2019
Instructor: Elizabeth Sherman
Credits: 2
Coral reefs are among the most diverse, unique and beautiful of ecosystems on the planet.  Alas, they are also quite vulnerable to various environmental assaults and most of the reefs on earth are in real jeopardy.  In order to gain a more robust understanding of reefs, we will study reefs on site in the Caribbean. Students will learn the taxonomy, identification and
Science and Mathematics

Field Course in Coral Reef Biology — BIO4239.01

Spring 2020
Instructor: Betsy Sherman
Credits: 2
Coral reefs are among the most diverse, unique and beautiful of ecosystems on the planet.  Alas, they are also quite vulnerable to various environmental assaults and most of the reefs on earth are in real jeopardy.  In order to gain a more robust understanding of reefs, we will study reefs on site in the Caribbean. Students will learn the taxonomy, identification and
Science and Mathematics

Field Course in Coral Reef Science — BIO4239.01

Spring 2014
Instructor: Elizabeth Sherman; Janet Foley
Credits: 2
The biodiversity of coral reefs has been declining rapidly in the last 20 years due in large part to human activities. In this field course students will have an opportunity to confront this problem directly and contribute to our understanding of reef biodiversity. This course will take place on the island of Grand Cayman, British West Indies (Latitude 18 23' N, Longitude 81 24
Science Mathematics and Computing

Field Course in Coral Reef Science — BIO4108.01

Spring 2016
Instructor: Betsy Sherman and Janet Foley
Credits: 2
The biodiversity of coral reefs has been declining rapidly in the last 20 years due in large part to human activities. In this field course students will have an opportunity to confront this problem directly and contribute to our understanding of reef biodiversity. This course will take place on the island of Grand Cayman, British West Indies for one week following the Spring
Science Mathematics and Computing

Field Course in Coral Reef Science — BIO4239.01

Fall 2013
Instructor: Elizabeth Sherman; Janet Foley
Days & Time: TBA
Credits: 2
The biodiversity of coral reefs has been declining rapidly in the last 20 years due in large part to human activities. In this field course students will have an opportunity to confront this problem directly and contribute to our understanding of reef biodiversity. This course will take place on the island of Grand Cayman, British West Indies (Latitude 18 23' N, Longitude 81 24
Unknown

Field Ecology: Documenting Natural Areas of the Bennington Region — BIO4127.02

Spring 2021
Instructor: Kerry Woods
Credits: 2
The class will be dedicated to intensive study of the ecosystems of the Bennington region and direct observation and documentation of natural areas in the region. Each Thursday afternoon will be dedicated to intensive field study of selected natural areas. Students will be responsible for compiling descriptive documentation, to be published on-line to initiate a 'base-line'
Science and Mathematics Environment

Field Methods — LIN4112.01

Spring 2024
Instructor: Carly Rudzinski
Credits: 4
This course is designed to equip students with the basic methodologies necessary to carry out linguistic fieldwork on un(der)documented languages. Students will be trained in the skills and tools of language documentation and description by working with a speaker of a language previously unknown to them. Students will learn techniques of data collection, elicitation, management
Society Culture and Thought

Field Research in Unconventional Space — SCU2128.01

Spring 2022
Instructor: John Umphlett
Credits: 2
This class will push the envelope of closed membrane structure design. A membrane is more than an impermeable skin; it can selectively filter particles, chemicals, light, sound, and smell. A balloon has an expandable latex surface easily manipulated by air and water pressure. However, a rigid fabric material that has a less forgiving response to pressure forced on its walls
Visual Arts

Field Research of Closed Cells - Part 1 — SCU2119.01

Spring 2014
Instructor: John Umphlett; Guy Snover
Credits: 2
This class will push the envelope of closed membrane structure design. A membrane is more than an impermeable skin; it can selectively filter particles, chemicals, light, sound, and smell. A balloon has an expandable latex surface easily manipulated by air and water pressure. However, a rigid fabric material that has a less forgiving response to pressure forced on its walls
Visual Arts

Field Research of Closed Cells - Part 2 — SCU4119.01

Spring 2014
Instructor: John Umphlett; Guy Snover
Credits: 2
This class will be fabricating a large inflatable structure (ultimate synthesis of the first seven weeks). The first two classes will be dedicated to critical discussions on form, membrane properties, and the final showing environment. The chosen form will be digitized and the 3D model will be used to leverage logistics of the large form and patterning. The digital model will
Visual Arts

Field Tuning: art, agriculture and attuning to the land — APA2023.01

Spring 2024
Instructor: Carly Rudzinski
Credits: 4
Exploring land based practice through the senses. This course will focus on connecting students with the local landscape and engage with the Robert Frost House terrain. Using experimental methods to heighten our senses for deep observation of the seen and unseen rhythms around us, we can generate curiosities from the poetic to ecological shifts in the landscape. Looking at land
CAPA

Film Adaptations of French Literature — FRE4492.01

Spring 2020
Instructor: Noëlle Rouxel-Cubberly
Credits: 4
Since the very beginnings of cinema, French literature and film have reciprocally inspired one another. From the Surrealists to the New French Extremity movement, many directors have brought French literary works onto the screen. This course will offer students the opportunity to analyze literature and their film adaptations in terms of intermediality and intertextuality.
Cultural Studies and Languages Visual Arts

Film Music — MCO4101.01

Fall 2014
Instructor: nicholas brooke
Days & Time: TBA
Credits: 4
The practice of underscoring movies is as old as film itself, from early improvised accompaniments to silent films, to the orchestrations of Bernard Herrmann and Ennio Morricone. In this course, we will look and listen to a variety of films and sound scores throughout the ages, analyzing the way in which they act as counterpoint to plot and the visual score. Musical analysis of
Music

Film Scores and Audio Post-Production — MSR4109.01

Spring 2017
Instructor: David Baron
Credits: 2
Why do professional media productions sound so good?  What are the tricks and tools of making a great soundtrack for visual presentation?  Learn how to make compelling, dynamic, clear, and professional sounding audio productions for visual work.   We will create entire audio soundtracks from scratch – music, dialog, foley, and sfx.  Advanced mixing and
Music

Film Scoring — MCO4101.01

Fall 2019
Instructor: Nicholas Brooke
Credits: 2
The practice of underscoring movies is as old as film itself, from early improvised accompaniments to silent films, to the orchestrations of Ennio Morricone and Louis and Bebe Barron. In this course, we will look and listen to a variety of films and sound scores throughout the ages, analyzing the way in which they act as counterpoint to content and the visual score. Written
Music

Film Titles — CSL2005.01

Fall 2024
Instructor: Noëlle Rouxel-Cubberly
Credits: 2
Film openings both credit all the film "makers" and set the tone for what will follow. Unlike the cover of a book, they immerse the viewer in a multi-sensory experience designed to engage and prepare. Explored as palimpsests, these opening titles will be examined as examples of paratexts, as well as entry points into the films they introduce and the cultures they reflect.
Cultural Studies and Languages Visual Arts

Film/Video History: Insiders vs. Outsiders: The Position of the Filmmaker in Postcolonial and Ethnographic Film and Video — FV4217.01

Fall 2018
Instructor: Chelsea Knight
Credits: 4
This course examines various filmmaking strategies around the representation of social conflict and post-colonialism. In particular, it examines the ethics around how we look out into the world as film and video makers from a given position and a given time: either as placed within a community or outside of it. The course
Visual Arts

Films by Photographers — PHO2151.01

Fall 2018
Instructor: Jonathan Kline
Credits: 2
We will be looking at a wide range of films made by internationally recognized photographers from the mid-20th century to the present moment. The Populi site for this class will provide weekly essays about the photographer and also a small pdf gallery of 15-20 photographs for you to look through before our weekly film screenings. I have also identified books on reserve in
Visual Arts

Films by Photographers — PHO2151.01

Fall 2015
Instructor: Jonathan Kline
Days & Time: TBA
Credits: 2
This class explores the rich area between still and moving pictures from the perspective of noted photographers who have gone on to create films. Whether working in a documentary, narrative, or experimental mode, we will be screening a wide range of 20th and 21st century practitioners from Ruth Orkin to Anton Corbijn. Each week students will research still photographs by each
Visual Arts

Financing Social Value Oriented Enterprise — cancelled

Spring 2020
Instructor: Charles Crowell
Credits: 2
The aim of this 7-week course is to provide students with the knowledge and skillsets necessary for acquiring financing for start-ups and existing entrepreneurial firms. Beginning with Title III of the JOBS Act (2012), the environment for financing organizations, including arts and culture and socially-responsible initiatives, was broadly liberalized. In the context of that new
CAPA

Financing Social Value-Oriented Enterprise — APA2251.02

Spring 2018
Instructor: Charles Crowell
Credits: 2
The aim of this 7-week course is to provide students with the knowledge and skillsets necessary for acquiring financing for start-ups and existing entrepreneurial firms. Beginning with Title III of the JOBS Act (2012), the environment for financing organizations, including arts and culture and socially-responsible initiatives, was broadly liberalized. In the context of that new
CAPA Visual Arts

Finding Form: Dance — DAN4319.01

Spring 2023
Instructor: Dana Reitz
Credits: 4
Looking at forms found in nature, architecture, music, drama, literature, etc., we search for examples to help formulate ideas and structures for movement-based creation. When making new artwork, we are constantly balancing and integrating the need for exploratory freedom and the desire for structural integrity. How do we use spontaneous impulse to help find form, and how do we
Dance Drama Visual Arts

Finding Form: Dance — DAN4319.01

Fall 2014
Instructor: dana reitz
Days & Time: TBA
Credits: 4
Looking at forms found in nature, architecture, music, drama, literature, etc., we search for examples to help formulate ideas and structures for movement-based compositional purposes. How can we as artists find form that best supports our investigations and challenges our working processes; how do we analyze, interpret and further utilize form that is inherent in work that is
Dance

Finding Form: Dance — DAN4319.01

Spring 2020
Instructor: Dana Reitz
Credits: 4
Looking at forms found in nature, architecture, music, drama, literature, etc., we search for examples to help formulate ideas and structures for movement-based creation. When making new artwork, we are constantly balancing and integrating the need for exploratory freedom and the desire for structural integrity.  How do we use spontaneous impulse to help find form, and how
Dance

Finding Form: Dance — DAN4319.01

Fall 2013
Instructor: Dana Reitz
Days & Time: TBA
Credits: 4
Looking at forms found in nature, architecture, music, drama, literature, etc., we search for examples to help formulate ideas and structures for movement-based compositional purposes. How can we as artists find form that best supports our investigations and challenges our working processes; how do we analyze, interpret and further utilize form that is inherent in work that is
Dance