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This course introduces the method and materials of social science disciplines and focuses on how social scientists make arguments. The disciplines differ in their methods (for example experimental data analysis in psychology versus observational data in anthropology) but share a commitment to rigorous, non-prejudicial argument and a sometimes successful effort to transcend the

The record of the processes and research practices take shape in the writing and designing of the artist’s book.  The research actions are discussed and planned.  These “actions” are shared informally and at the conclusion of the term in consultation with a thinking partner. 

The inevitable tensions within creative processes - rather than limiting our vision - have the potential to realize our deepest desires and wishes. This course explores the malleability of perception within art making. We will engage in collaborative, contemplative, choreographic, emotional, and imaginal practices that empower the “problems” of body, mind, and heart as sources

This course engages concepts of improvisation through the lens of creator and performer. Students will study and develop solo and contact-based improvisational practices. Each participant will be encouraged to take risks to broaden movement choices. Scores are introduced to expand conceptual ideas of ensemble dancing while collaborating in real time. 

This course is a seminar focusing on films that were made by filmmakers and collectives which saw themselves as inaugurating a new kind of filmmaking modeled neither on the commercial American filmmaking, nor on the European “Auteur” Cinema, instead crafting a third position, a cinema that was implicated in anti-capitalist and anti-imperialist struggles of the time. These works

This course is a seminar focusing on films that were made by filmmakers and collectives which saw themselves as inaugurating a new kind of filmmaking modeled neither on the commercial American filmmaking, nor on the European “Auteur” Cinema, instead crafting a third position, a cinema that was implicated in anti-capitalist and anti-imperialist struggles of the time. These

In this course, we will examine the attempts of various American writers to come up with alternatives to the conventions of realist narrative fiction that have dominated American literary history. We will read writers from the last half-century that have employed with modernist and postmodern techniques as metafiction, resistance of closure, authorial intrusion, collage,

How do we, as users of language, guide others to successfully follow our attention and intention in referring to elements of shared physical, social and discursive worlds? How do we, as consumers of language, integrate linguistic signals with available context to successfully interpret these acts of reference? In this class, we will draw on data from a wide range of

For a long time we have disconnected the activity of thinking from that of doing. In addition to the impoverishment of both thought and action that results from this separation, we have lost touch with the emotional and intellectual intensities that the integration of thought and action generate. This course reconnects thought, action and passion by focusing on exploring the

In Thresholds of Identity, we will consider the literature of Spanish migration, domestic and international, through contextualized readings of contemporary texts. Our primary literary examples will correspond to each of three recent major waves in migrations for Spain: 1) movement from rural to urban areas in the early twentieth century 2) emigration from Spain to other

Thresholds of Identity offers the study of novels and films of Spanish migration, domestic and international, through contextualized engagement with selected contemporary texts. Our primary literature and films correspond to each of three recent Spanish migratory trends: 1) mass movement from rural to urban areas in the early twentieth century 2) emigration from Spain during

“Syntax” is the aspect of grammar concerned with the relationships of words in a language, with how they fit together to create meaning. By exploring various English syntactical structures, we will discover a variety of ways to combine the same words to say slightly different things. The course will rely heavily on the linguistic work of Noam Chomsky. We will write a number of

“Syntax” is the aspect of grammar concerned with the relationships of words in a language, with how they fit together to create meaning. By exploring various English syntactical structures, we will discover a variety of ways to combine the same words to say slightly different things. The course will rely heavily on the linguistic work of Noam Chomsky. We will write a number of

"Syntax" is the aspect of grammar concerned with the relationships of words in a language, with how they fit together to create meaning. By exploring various English syntactical structures, we will discover a variety of ways to combine the same words to say slightly different things. The course will rely heavily on the linguistic work of Noam Chomsky. We will write a number of

"Syntax" is the aspect of grammar concerned with the relationships of words in a language, with how they fit together to create meaning.  By exploring various English syntactical structures, we will discover a variety of ways to combine the same words to say slightly different things.  The course will rely heavily on the linguistic work of Noam Chomsky.  We will

"Syntax" is the aspect of grammar concerned with the relationships of words in a language, with how they fit together to create meaning.  By exploring various English syntactical structures, we will discover a variety of ways to combine the same words to say slightly different things.  The course will rely heavily on the linguistic work of Noam Chomsky.  We will

An advanced course in sonic contraptions, for students who have already completed significant work in sound, visual design, or project management.  Starting with Collins’ Hardware Hacking, we’ll review soldering, circuit bending (i.e. “tickling the clock”), and associated topics, such as no-input mixing and basic circuit tinkering. We will look at

This course will explore the ceramic medium through the format of tile. Given this as a parameter, we are presented with an exciting opportunity to explore clay in two dimensions and low relief. Students will be introduced to historic and contemporary tiles as examples of both architectural elements and art objects. This general survey of ceramic tiles will include many

This course will explore the ceramic medium through the format of tile. Given this as a parameter, we are presented with an exciting opportunity to explore clay in two dimensions and low relief. Students will be introduced to historic and contemporary tiles as examples of both architectural elements and art objects. This general survey of ceramic tiles will include many

This course will explore the ceramic medium through the format of tile. Given this, as a parameter, we are presented with an exciting opportunity to explore clay in two dimensions and in low relief. Students will be introduced to historical and contemporary tiles as examples of both architectural elements and art objects. Tiles will be made using various building methods

If we were to prepare a time capsule to leave behind for a future generation to open, how would we go about it? What would we include? What kinds of questions would we have to ask in order to decide on a list of items? First, we might have to define ‘ourselves’, and what we know and think about our time and place in history. Then, how do we express this understanding through a

This course offers a critical appraisal of the concepts of time, history, and memory in the social and cognitive sciences. We will start by defining our field of research at the intersection of sociology, psychology, history, anthropology, and cognitive neuroscience. We will examine the emergence of memory as an object of study within these disciplines, and focus on the

May memory restore again and again The smallest color of the smallest day: Time is the school in which we learn, Time is the fire in which we burn. -Delmore Schwartz The true territory that we create for the audience of a play or film is not the story we tell, or the characters we create, but the memories that the audience makes and processes about those stories and characters

May memory restore again and again The smallest color of the smallest day: Time is the school in which we learn, Time is the fire in which we burn.    -Delmore Schwartz They say that time is the main character of every story.  In time bound art forms, there are two times running in parallel--the story's, and the audience's. This class will investigate&nbsp

Both Toni Morrison's and Octavia Butler’s novels push us to consider time differently. Rather than as static artifacts, both women’s characters treat time, memory, and history as malleable materials. Take Morrison’s idea of "re-memory" in her novel Beloved, for example, a vivid reliving of the past that seems more than memory itself, something closer to being transported