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Showing 25 Results of 7813

Make Kitchen Communal Again: Culinary Participation and Storytelling — APA4245.02

Fall 2020
Instructor: Yoko Inoue
Days & Time:
Credits: 2
Building strong community support infrastructure is essential in the age of global pandemics as it has been during past emergencies and disasters. At this pivotal moment, communal kitchens can be reframed as vital, alternative social spaces to foster democratic learning. In this space we can regain the importance of cross-generational skillsharing and reclaiming community
CAPA

Make Kitchen Communal Practicum — APA4302.01

Spring 2021
Instructor: Yoko Inoue
Days & Time:
Credits: 4
Building strong community support infrastructure is essential in the age of global pandemics, as it has been during past emergencies and natural disasters. Civic engaged actions and intentional social practices which are embedded in the locale have become more crucial when government agencies’ responses to the emergencies are slow or delayed. Can we revitalize or create new
CAPA

Makers Making/ Performance in the 21st Century — DAN2131.01

Spring 2017
Instructor: Elena Demyanenko
Days & Time:
Credits: 2
"Isn't every artist essentially starting from nothing, no matter what they might have presented to theater directors or financiers? Isn't the meaning of a work always discovered, to some extent, by its creator during the process of making it?" (Roslyn Sulcas). These are just some of the questions about the making, style, process, logistics, methods, and systems makers
Dance

Makers Making/Performance in the 21st Century — DAN4129.01

Fall 2018
Instructor: Elena Demyanenko
Days & Time:
Credits: 2
“Isn’t every artist essentially starting from nothing, no matter what they might have presented to theater directors or financiers? Isn’t the meaning of a work always discovered, to some extent, by its creator during the process of making it?” (Roslyn Sulcas). These are just some of the questions about the making, style, process, logistics, methods, and systems makers employ
Dance

Makers and Making/ Performance in the 21st Century — DAN2131.01

Spring 2015
Instructor: Elena Demyanenko
Days & Time:
Credits: 2
***Time Change*** “Isn’t every artist essentially starting from nothing, no matter what they might have presented to theater directors or financiers? Isn’t the meaning of a work always discovered, to some extent, by its creator during the process of making it?” - Roslyn Sulcas These are just some of the questions about the making, style, process, logistics, methods, and
Dance

Making and Breaking International Law — HIS2130.01

Spring 2016
Instructor: Eileen Scully
Days & Time:
Credits: 4
International law is no longer merely "out there" somewhere, relevant only to travelers, merchants and diplomats. Quite the contrary. International law is being globalized, and 'glocalized,' so that it now covers complex contested areas such as civil unions, health insurance, sexual orientation, migration. This is an introduction to the fundamentals of twenty
CAPA Society Culture and Thought

Making and Breaking International Law — HIS4218.01

Fall 2019
Instructor: Eileen Scully
Days & Time:
Credits: 4
International law is no longer merely "out there" somewhere, relevant only to travelers, merchants and diplomats. International law is being globalized, and glocalized, so that it now covers complex contested areas such as civil unions, health insurance, sexual orientation, migration. We will focus on the fundamentals of twenty-first century international law, delving into
CAPA Society Culture and Thought

Making Arrangements — MCO4112.01

Fall 2019
Instructor: Jennifer Allen
Days & Time:
Credits: 4
In this course we will discover the basic principles of arranging for various ensembles playing in multiple genres (using horns, strings, background vocals, etc. along with a rhythm section). We will look at a wide range of notable artists working in many jazz subgenres and related styles. Students will be encouraged to creatively question existing forms and traditions in
Music

Making Arrangements — MCO4112.01

Spring 2021
Instructor: Bruce Williamson
Days & Time:
Credits: 4
In this course we will discover the basic principles of arranging for various ensembles playing in multiple genres (using horns, strings, background vocals, etc. along with a rhythm section). We will look at a wide range of notable artists working in many jazz subgenres and related styles. Students will submit work using music notation and/or digital recording platforms
Music

Making from Scratch/ Sourcing the Body — DAN2256.02

Fall 2016
Instructor: Elena Demyanenko
Days & Time:
Credits: 2
This is a practice for participants of any discipline to activate the awareness towards the detailed body, vigorous body, sensitive body, rebellious body, fantastic body, in their chosen form or medium. Trusting the intrinsic intelligence of the body in making, we will source multiple systems (eg. muscular, skeletal, fluid, organ) and other ways of reading the body (eg. energy
Dance

Making From Scratch/ Sourcing the Body — DAN4119.01

Fall 2014
Instructor: elena demyanenko
Days & Time: TBA
Credits: 4
This is a practice for participants of any discipline to activate the awareness towards the detailed body, vigorous body, sensitive body, rebellious body, fantastic body, in their chosen form or medium. Trusting the intrinsic intelligence of the body in making, we will source multiple systems (eg. muscular, skeletal, fluid, organ) and other ways of reading the body (eg. energy
Dance

Making from Scratch/Sourcing the Body — DAN2256.01

Fall 2018
Instructor: Elena Demyanenko
Days & Time:
Credits: 2
This is a practice for participants of any discipline to activate the awareness towards the detailed body, vigorous body, sensitive body, rebellious body, fantastic body, in their chosen form or medium. Trusting the intrinsic intelligence of the body in making, we will source multiple systems (e.g. muscular, skeletal, fluid, organ) and other ways of reading the body (e.g.
Dance

Making It Personal — SCU4114.01

Spring 2022
Instructor: John Umphlett
Days & Time:
Credits: 4
The question that animates this advanced sculpture course is: what do you want to say? As we develop our interests in sculpture it becomes more and more imperative to find our own voice. The role of the artist is to interpret personal conditions and experiences and find the most effective expression for them. Paradoxically, however, the artist finds out what they have to say by
Visual Arts

Making Melody — MCO4134.01

Fall 2023
Instructor: Joseph Alpar
Days & Time:
Credits: 2
Melodies are precise, mysterious, and magical in equal measure.  In this course we will try to lift the veil of mystery and explore practices that will aid you in the creation of your own melodies. We will do this through the lens of Irish music, an oral tradition that informs the instructor's own composition. As an oral tradition, Irish music is handed down
Music

Making Music with Modular Soft Synths — MCO4124.01

Spring 2020
Instructor: Sergei Tcherepnin
Days & Time:
Credits: 2
This class will focus on historical methods of electronic music composition through a contemporary lens. We will study synthesis in depth, and the development of early analog synthesizers, while learning how these techniques have influenced contemporary software design. While the class will focus on composing, students will be expected to learn how to use Reaktor, VCV Rack, and
Music

Making Sense of World Events — POP2356.03

Fall 2023
Instructor: Carly Rudzinski
Days & Time:
Credits: 1
Once again, Gaza has burst into view at the center of world events. More refugee camp than nation-state, Gaza is home to 2.2 million Palestinians (half of whom are under the age of 18) squeezed into a narrow sliver of land 25 miles long and 7 miles wide. One of the most densely populated, barricaded, and now bombed places on the planet, Gaza now demands attention on several
CAPA

Making Technical Theatre with Advanced Design Collaboration — DRA2383.02

Spring 2025
Instructor: Tilly Grimes
Days & Time:
Credits: 2
Working in conjunction with Advanced Design and Collaboration, students will be invited to join the process of bringing the shows to life. When theater starts with a script, visuals tend to follow the narrative. But what happens when bold visuals lead the way? Students will explore each discipline of technical theatre and participate in collaborating to create each of the
Drama

Making the Third Ear — MUS4356.01

Spring 2020
Instructor: Sergei Tcherepnin
Days & Time:
Credits: 2
This class will start with a grounding in the history and science of psychoacoustics. We will listen to binaural beats, watch psychostrobic flicker, create beating patterns using oscillators, and conduct other experiments in the sound studio to gain a deeper understanding of psychoacoustics. We’ll study an array of musical examples in popular culture (iDosers) and contemporary
Music

Making the Third Ear — MUS4356.01

Fall 2016
Instructor: Nicholas Brooke
Days & Time:
Credits: 2
This class will start with a grounding in the history and science of psychoacoustics. We will listen to binaural beats, watch psychostrobic flicker, create beating patterns using oscillators, and conduct other experiments in the sound studio to gain a deeper understanding of psychoacoustics. We’ll study an array of musical examples in popular culture (iDosers) and contemporary
Music

Making Work — DAN4135.01

Spring 2019
Instructor: Miguel Gutierrez
Days & Time:
Credits: 2
This course focuses on the creative process in making body/movement-based performance/dance. A variety of approaches to creating - intuitive, improvisational, and analytical - is exploited to uncover your individual interests, your process and your work. The workshop consists of unequal parts making, discussing, improvising and watching the work of other workshop participants.
Dance

Making Work: Aesthetics Ideology — DAN4169.01

Spring 2023
Instructor: Levi Gonzalez
Days & Time:
Credits: 2
This course is for students with prior experience making dance or performance art. In this class we will begin by looking at dances or performances from students’ own past work, or work they admire or are inspired by. We will use these as a springboard to discuss what attracts us in terms of aesthetics, site, style, identity, narratives, politics, etc., and consider how
Dance