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This course meets the second seven weeks of the term, and through group critiques, assignments, artist slideshows, and readings, explores the broad range of physical forms that photographic works can take. As recent exhibitions and publications such as What is a Photograph? (The International Center of Photography, 2014), A Matter of Memory: The Photograph as Object in the

As recent exhibitions and publications such as What is a Photograph? (The International Center of Photography, 2014), A Matter of Memory: The Photograph as Object in the Digital Age (George Eastman Museum, 2016), and Photography is Magic (Charlotte Cotton, Aperture, 2015) attest, there are many contemporary artists whose work with photography draws increased focus to material

The class will be concerned with investigating the interaction of projected imagery (video, animation, still imagery) with a location, an object, a stage, a viewer. Investigation will center on how projections can be integrated into, and bring further information to a location, a set, a text. Various examples will be looked at and researched. Sites and texts will be used as a

This energetic class will be part project based and part experimental lab that fosters a critical and analytical viewpoint toward the Collagraph, Lithograph and Monoprint techniques while disrupting their traditional values and appearances. These printmaking techniques will then be used as a building platform for exploring new ideas by interweaving them together. Traditional

In this course we will consider playwrights who have created imaginary worlds as a means of escaping from, critiquing, or simply distorting the real world. In doing so, we will consider how imaginary worlds might open up new spaces and possibilities for our own world, as well as how they reflect a playwright’s unique vision and philosophy. We will consider the inherent

In this course students will establish an expanded definition of ‘Music’ as inspired by the Sufi Master Hazrat Inayat Khan who wrote the mysticism of sound. This book confirmed my reason and purpose for playing music. In discussing this book, we can open up to other possibilities of understanding while discovering the music inside of us. With the acceptance and realization that

Our country is changing rapidly—can a play help us make sense of where we are (gulp), and where we’re headed? In this course, we will read ambitious, formally inventive plays written within the last fifty years that attempt to capture some fundamental truth about the United States: its violence and despair as well its beauty and possibility. Readings will likely include Tony

This class will examine interesting thinkers about our future.  Artists, anthropologists, afro futurists, writers, scientists and philosophers have all thought about what we are facing in our futures. Books and essays such as “The Fourth Turning” by Neil Howe, “The Dawn of Everything” by David Graeber, “The End of History” by Francis Fukuyama, 

Demographic and technological changes are challenging institutions, organizations and practices that traditionally have supported artists in their contribution to American culture. What would it mean to radically rethink the future of arts and culture in America?  This course will include a review of the traditional models that have supported American artists historically

This course examines the history of immigration to the United States. How did this country become a “nation of immigrants”? How did immigration become so central to American national identity? What are this country’s purported ideals on the subject and has it ever lived up to them?  

In this introductory course, we will analyze media preservation projects that attempt to create immortal media—artifacts that last beyond the end of the world. From the Depression to the digital age, preservationists have responded to the social, cultural, technological, and ecological crises of their moment by projecting fears about their own mortality onto media artifacts,

In this introductory course, we will analyze media preservation projects that attempt to create immortal media—artifacts that last beyond the end of the world. From the Depression to the digital age, preservationists have responded to the social, cultural, technological, and ecological crises of their moment by projecting fears about their own mortality onto media artifacts,

Immortality. Everyone seems to want it. Or, well, practically everyone. Well, not me. I don't want it. But, look, even the world's oldest recorded epic hero, Gilgamesh, struggled against the notion of mortality and his own impending, inevitable death, and ever since (and probably long-before) members of our species have sought ways to subvert it. This course aims to explore

This course covers the domestic and international challenges facing the struggle for democracy in Middle Eastern countries, with particular emphasis on Iran. It will focus on the historical and sociocultural underpinning of the democratic concept and examine the causes of democratic success and failure. The struggle for democracy in Iran began in the early 20th century, but

This seminar will look at works by Claude Debussy and Maurice Ravel, as well as by Erik Satie, Les Six, Fauré, and diverse U.S. composers at the turn of the 20th century. We will start by looking at Debussy’s Preludes as a microcosm of his harmonic style, and then analyze major orchestral works including Jeux, L’Après Midi d’un Faune, and La Mer. Ravel’s Tombeau de

This seminar will look at works by Claude Debussy and Maurice Ravel, as well as by Erik Satie, Les Six, Fauré, and diverse U.S. composers at the turn of the 20th century. We will start by looking at Debussy’s Preludes as a microcosm of his harmonic style, and then analyze major orchestral works including Jeux, L’Après Midi d’un Faune, and La Mer. Ravel’s Tombeau de Couperin,

This class is an extension of the Black Music Division at Bennington College that brought dancers and musicians together for live performance in the composition of Improvisation. It is co-taught by Susan Sgorbati and Michael Wimberly.  Musicians and Dancers will study and practice together a Solo Practice and an Ensemble Practice, building compositional

This class will focus on weekly instruction in improvisation through differing styles and feels. We will specifically focus on how group improvisation can help build community and communication.  Explore and develop skills in chord analysis, rhythm and expression through your instrument. We will also touch on the deep history of improvisation. Weekly assignments will

This advanced course focuses on work in the performance of improvisation. For dancers, special attention is given to the development of individual movement vocabularies and the exploration of emergent forms and structures within an ensemble. For musicians, special attention is given to creating rhythms and sonorities which can then be manipulated and developed while

This course is for dancers and musicians to work on the performance of improvisation. This section is for advanced dancers who will focus on developing an original movement vocabulary, understand pattern recognition and learn a solo and ensemble practice in emergent forms. Once a week, the dancers will have a class with musicians and will collaborate on improvisational

This course is for dancers and musicians interested in working on the performance of improvisation. For musicians, specific attention is given to creating rhythms and sonorities which can then be manipulated and developed while interacting with dancers in the moment. Once a week dancers will have a class with musicians in collaboration on improvisational structures. Musicians

This course is for dancers and musicians interested in working on the performance of improvisation. For musicians, specific attention is given to creating rhythms and sonorities which can then be manipulated and developed while interacting with dancers in the moment. Once a week dancers will have a class with musicians in collaboration on improvisational structures. Musicians

This course is for dancers and musicians interested in working on the performance of improvisation. For musicians specific attention is given to creating rhythms and sonorities which can then be manipulated and developed while interacting with dancers in the moment. Once a week dancers will have a class with musicians in collaboration on improvisational structures. Musicians

This course will actively explore sound creation concepts and practices with special attention given to the investigation of sonorities and rhythms, which can then be manipulated and developed into open form composition. Students will explore and develop sound using graphic notation, text, and non-traditional notation approaches while exploring basic conduction techniques

***Time Change*** This advanced-level course focuses on work in the performance of improvisation. For dancers, special attention is given to the development of individual movement vocabularies, physical contact and interaction, and the exploration of forms and structures. For musicians, special attention is given to creating rhythms and sonorities which can then be