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Showing 25 Results of 7318

Science, Drama and the Power of the Inquisitive Mind — DRA2259.01

Instructor: Dina Janis
Days & Time:
Credits: 4
"Measure what is measurable, and make measurable what is not so" Galileo "To be or not to be, that is the question" Shakespeare How do the worlds of science and theatre connect and what do they share? What is the role of the revolutionary thinker in society? We will study a variety of dramatic texts that look at these questions, exploring the nature of the inquisitive mind and

Science, Drama, The Power of the Inquisitive Mind — DRA2259.01

Instructor: Dina Janis
Days & Time:
Credits: 4
"Measure what is measurable, and make measurable what is not so" Galileo "To be or not to be, that is the question" Shakespeare How do the worlds of science and theater connect and what do they share? What is the role of the revolutionary thinker in society? We will study a variety of dramatic texts that look at these questions, exploring the nature of the inquisitive mind and

Science, Drama, and The Power of the Inquisitive Mind — DRA2259.01

Instructor: Michael Giannitti
Days & Time:
Credits: 4
“Measure what is measurable, and make measurable what is not so” Galileo “To be or not to be, that is the question” Shakespeare How do the worlds of science and theater connect and what do they share? What is the role of the revolutionary thinker in society? We will study a variety of dramatic texts that look at these questions, exploring the nature of the inquisitive mind and

Screenwriting: Scene and Structure — LIT2326.01

Instructor: Manuel Gonzales
Days & Time:
Credits: 4
Reading contemporary screenplays and story treatments, we will discuss the structure and scene work that goes into writing a successful screenplay. Almost without fail, all screenplays utilize a familiar and easy to learn three-act structure, but the very best screenwriters manipulate this structure nimbly via character development, excellent dialogue, and strong storytelling

Screenwriting: Scene and Structure — LIT2354.01

Instructor: Manuel Gonzales
Days & Time:
Credits: 4
Reading contemporary screenplays and story treatments, we will discuss the structure and scene work that goes into writing a successful screenplay. Almost without fail, all screenplays utilize a familiar and easy to learn three-act structure, but the very best screenwriters manipulate this structure nimbly via character development, excellent dialogue, and strong storytelling

Screenwriting: Story Studio — LIT2509.01

Instructor: Carly Rudzinski
Days & Time:
Credits: 4
A good movie begins with a good script. A good script begins with a good story. In this class, we will explore the basics of structure and format for a feature-length screenplay, but the majority of the course we will be focused on storytelling, the development and polishing of good, strong stories. We will ask what goes into a good story, and how do you take those elements and

Screenwriting: The Story Studio — LIT2509.01

Instructor: Manuel Gonzales
Days & Time:
Credits: 4
A good movie begins with a good script. A good script begins with a good story. In this class, we will explore the basics of structure and format for a feature-length screenplay, but the majority of the course we will be focused on storytelling, the development and polishing of good, strong stories. We will ask what goes into a good story, and how do you take those elements and

Screenwriting: The Story Studio — LIT2509.01

Instructor: Manuel Gonzales
Days & Time:
Credits: 4
A good movie begins with a good script. A good script begins with a good story. In this class, we will explore the basics of structure and format for a feature-length screenplay, but the majority of the course we will be focused on storytelling, the development and polishing of good, strong stories. We will ask what goes into a good story, and how do you take those elements and

Scripting for Computer Graphics — CS2118.01

Instructor: Justin Vasselli
Days & Time:
Credits: 4
Computer Graphics is one of the most fun and accessible fields within Computer Science. The visual nature of it lends itself well to creative and artistic minds. It’s the perfect melding of math, computing and art. This course will cover the key ideas behind computer graphics. We will discuss different rendering algorithms and how they work, how 3D models are represented in

Scripting for Computer Graphics — CS2122.01

Instructor: Justin Vasselli
Days & Time: TBA
Credits: 4
Computer Graphics is one of the most fun and accessible fields within Computer Science. The visual nature of it lends itself well to creative and artistic minds. It’s the perfect melding of math, computing and art. This course will cover the key ideas behind computer graphics.  We will discuss different rendering algorithms and how they work, how 3D models

SCRIPTORIUM: EKPHRASIS: WRITING ABOUT ART — WRI2167.01

Instructor: Camille Guthrie
Days & Time: TU,FR 10:30am-12:20pm
Credits: 4

This Scriptorium, a “place for writing,” functions as a class for writers interested in improving their critical essay-writing skills. We will read to write and write to read. Much of our time will be occupied with discussion, writing, and revising—essai means “trial” or “attempt”—as we create new habits and strategies for our analytical

SCRIPTORIUM: MONSTERS — WRI2159.02, section 2

Instructor: Camille Guthrie
Days & Time: TU,FR 10:30am-12:20pm
Credits: 4

This Scriptorium, a “place for writing,” functions as a class for writers interested in improving their critical essay-writing skills. We will read to write and write to read. Much of our time will be occupied with discussion, writing, and revising—essai means “trial” or “attempt”—as we create new habits and strategies for our analytical

SCRIPTORIUM: MONSTERS — WRI2159.01, section 1

Instructor: Camille Guthrie
Days & Time: TU,FR 2:10pm-4:00pm
Credits: 4

This Scriptorium, a “place for writing,” functions as a class for writers interested in improving their critical essay-writing skills. We will read to write and write to read. Much of our time will be occupied with discussion, writing, and revising—essai means “trial” or “attempt”—as we create new habits and strategies for our analytical

SCT Advanced Work Preparation Module — SCT4104.04

Instructor: SCT Faculty
Days & Time:
Credits: 1
This one credit module is designed for students preparing to do advanced work in fall 2018. In a series of workshops, students will work on formulating clear lines of inquiry and developing a research plan for their advanced work in SCT. Students will look at various examples of advanced work as presented by current seniors. Various SCT faculty members will present techniques

SCT Advanced Work Preparation Module — SCT4104.04

Instructor: Carly Rudzinski
Days & Time:
Credits: 1
This one-credit module is designed for students preparing to do advanced work in SCT during Fall 2022. In a series of workshops, students will work on formulating clear lines of inquiry and developing a research plan for their advanced work in SCT. Students will look at various examples of advanced work as presented by current seniors. Various SCT faculty members will present

SCT Advanced Work Preparation Module — SCT4104.04

Instructor: David Bond
Days & Time:
Credits: 1
This one credit module is designed for students preparing to do advanced work in SCT during Fall 2020. In a series of workshops, students will work on formulating clear lines of inquiry and developing a research plan for their advanced work in SCT. Students will look at various examples of advanced work as presented by current seniors. Various SCT faculty members will present

SCT Advanced Work Preparation Module — SCT4104.04

Instructor: Carly Rudzinski
Days & Time:
Credits: 1
This one credit module is designed for students preparing to do advanced work in SCT during Fall 2020. In a series of workshops, students will work on formulating clear lines of inquiry and developing a research plan for their advanced work in SCT. Students will look at various examples of advanced work as presented by current seniors. Various SCT faculty members will present

SCT: Applying Research Methods — SCT4103.01

Instructor: Noah Coburn
Days & Time:
Credits: 4
This course is an advanced seminar that will apply skills learned in SCT: Research Methods. The class will work collectively to do a local ethnographic study. Depending upon the skills and interests of each student, the class will design a research proposal and then carry out key research techniques. Finally students will be asked to present this work in a collective piece

Sculptural Equilibrium: Containers for Ikebana — CER4206.01

Instructor: yoko inoue
Days & Time: TBA
Credits: 4
Understanding the form of a container is an integral part of the aesthetic reconfiguration of nature in Ikebana. The concept of activating an interior architectural space with collected cut plants and their arrangement stems from ancient Japanese animism. The container is considered a mysterious receptacle for the sustainability of life and acts as a symbolic focal point in its

Sculptural Equilibrium: Contemporary Context of Ikebana — CER4206.01

Instructor: Yoko Inoue
Days & Time: TH 1:40pm-5:20pm
Credits: 4

Understanding the form of a container is an integral part of the aesthetic reconfiguration of nature in Ikebana. The concept of activating an interior architectural space with collected cut plants and their arrangement stems from ancient Japanese animism. The container is considered a mysterious receptacle for the sustainability of

Sculptural Equilibrium: Contemporary Context of Ikebana — CER4206.01

Instructor: Yoko Inoue
Days & Time:
Credits: 4
Understanding the form of a container is an integral part of the aesthetic reconfiguration of nature in Ikebana. The concept of activating an interior architectural space with collected cut plants and their arrangement stems from ancient Japanese animism. The container is considered a mysterious receptacle for the sustainability of life and acts as a symbolic focal point in its

Sculptural Equilibrium: Contemporary Context of Ikebana — CER4206.01

Instructor: Yoko Inoue
Days & Time:
Credits: 4
Understanding the form of a container is an integral part of the aesthetic reconfiguration of nature in Ikebana. The concept of activating an interior architectural space with collected cut plants and their arrangement stems from ancient Japanese animism. The container is considered a mysterious receptacle for the sustainability of life and acts as a symbolic focal point in its

Sculpture Studio/ advanced practice — SCU4217.01

Instructor: John Umphlett
Days & Time: TU 8:30am-12:10pm
Credits: 4

This course asks each student to work in a self-directed way among a community of critical thinkers. Finding one’s voice, as a maker, requires research sources of influence and inspiration. Students are expected to undertake a significant amount of work outside of regular class meetings. At this point in your Visual Arts Education

Sculpture Studio/Advanced practice — SCU4217.01

Instructor: John Umphlett
Days & Time:
Credits: 4
This course asks each student to work in a self-directed way among a community of critical thinkers. Finding one’s voice, as a maker, requires research sources of influence and inspiration. Students are expected to undertake a significant amount of work outside of regular class meetings. At this point in your Visual Arts Education you must be able to represent serious attention