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Information and data surround us. They inform what we do, the decisions we make, and what we ask of others. But how can we see what the data is telling us? How can we build graphical approaches that will allow us to make our own decisions—and help others see the patterns we are basing our decisions off of? By looking at the history of graphical data, and then building our own,

Precisely where the accounts of the major Greek historians stand in relation to fact is a matter of massive, ongoing scholarly inquiry. However that may be, the works of Herodotus, Thucydides, and Plutarch have always been regarded as brilliant contributions to literary art, albeit in different ways. Herodotus is a raconteur, venturing into the realm of folktale, fantasy, and

This course investigates the great beginning of the western dramatic tradition in fifth-century Athens. We'll read plays by Aeschylus, Sophocles and Euripides and theories of tragedy by Plato, Aristotle, Nietzsche, and Hegel. Students will write two essays.

This course is a basic introduction to analog and digital layouts for poster design, book-making, cutouts, fold-outs, stencils and other things that require the arrangement of information relative to how it will be presented. Students will begin by working on handmade projects (on regular and gridded paper) with the help of rulers and cutting mats, and eventually move to

This course examines grief, loss, mourning, and bereavement from developmental, psychological, relational, cultural, existential, and systemic perspectives. Students explore contemporary theories and models of grief and develop an understanding of the varied ways individuals, couples, families, and communities respond to loss across the lifespan. Topics include death and

You may or may not play an instrument. It doesn't matter. What matters is how you think, how you hear, how you communicate, and your willingness to adapt that knowledge to the musical field. We will learn to listen to music, talk about music, improvise music, write music, write about music, read music, and read about music, but most of all we will learn to collaborate to make

You may or may not play an instrument. It doesn’t matter. What matters is how you think, how you hear, how you communicate, and your willingness to adapt that knowledge to the musical field. We will learn to listen to music, talk about music, improvise music, write music, write about music, read music, and read about music, but most of all we will learn to collaborate to make

You may or may not play an instrument. It doesn't matter. What matters is how you think, how you hear, how you communicate, and your willingness to adapt that knowledge to the musical field. We will learn to listen to music, talk about music, improvise music, write music, write about music, read music, and read about music, but most of all we will learn to collaborate to make

You may or may not play an instrument. It doesn't matter. What matters is how you think, how you hear, how you communicate, and your willingness to adapt that knowledge to the musical field. We will learn to listen to music, talk about music, improvise music, write music, write about music, read music, and read about music, but most of all we will learn to collaborate to make

You may or may not play an instrument. It doesn't matter. What matters is how you think, how you hear, how you communicate, and your willingness to adapt that knowledge to the musical field. We will learn to listen to music, talk about music, improvise music, write music, write about music, read music, and read about music, but most of all we will learn to collaborate to make

You may or may not play an instrument. It doesn't matter. What matters is how you think, how you hear, how you communicate, and your willingness to adapt that knowledge to the musical field. We will learn to listen to music, talk about music, improvise music, write music, write about music, read music, and read about music, but most of all we will learn to collaborate to make

This is the required 2-hour lab that accompanies MFN2110 - Groundwork: What You Need to Know to Make Music.

Lab for Groundwork, MFN2110.01

This lab is the corequisite two-hour meeting for students enrolled in MFN2110 Groundwork: What You Need to Know to Make Music.  Students meet with instructor and composer intern in smaller groups to focus on individual issues and to collaborate with coaching.  

In a group salon, students present and critique compositions written for their bands. Students are encouraged to integrate broad music learning experience: music theory, history and composition, sound design and recording, and/or voice and instrumental instruction. The object is to use this educational breadth to make more discerning and innovative choices in songwriting,

This course introduces students to the theory and practice of group counseling. Students will learn about the stages of group development, group dynamics, and the roles of the group leader. Techniques for leading therapeutic, psychoeducational, and support groups are covered, and students will participate in experiential learning through group role-plays

This course introduces students to the theory and practice of group counseling in expressive arts therapy. Students will learn about the stages of group development, group dynamics, and the roles of the group leader. Techniques for leading therapeutic, psychoeducational, and support groups are covered, and students will participate in experiential learning

This is a group tutorial with Sue Rees. Please see learning objectives below.  • Experience taking a narrative and giving it physical form and movement • Experimenting with different ways to achieve a sequence of events • Exhibit their work in an end-of-the-term exhibition/screening. • Learning a mixture of digital and analogue methods • Seeing

This tutorial will be a documentary practice under CAPA where students spend a term building the ethical framework and production for a community-facing documentary series, while simultaneously making the first episodes of that series on campus and possibly moving into the surrounding community throughout the term. We will meet with faculty to review work once a

Participate in a group exhibition, create new work for the purpose of exhibition, learn the histories of art at Bennington College, respond to contemporary ideas about visual art, engage with art historical texts, collaborate with peers on the making of an exhibition

By the end of the tutorial, students would have developed an understanding through experience of the terminology, morphological features, and diagnostic characteristics used in mushroom observation and identification. Students will gain practical skills in analytical chemistry through mycochemical analysis, including sample preparation, extraction, chromatography,

The proposal is to provide a quieter, more research-based approach to studies in education, paralleling our burgeoning licensure program, with students suggesting their own topics and readings, including but not limited to policy, curriculum design, innovative teaching methodologies, learning analytics, leadership, and child development. Faculty may provide secondary and

Critical analysis through conversation, reading, writing and movement studies. Expanding our intake of information.  There is a reading list for the course; there are a total of 13 books on the list. The course will address the contents of these books through critical discourse, movement practices, and other modes that appear throughout the course.

This course serves as a workshop space for students enrolled in the Black Studies Senior Seminar, Reflections of Homeplace, a writing-intensive course intended for seniors across methodologies who are in the final stages of their senior work. With Black studies serving as the overarching body of knowledge, this course provides its students with a deep and expansive