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While the language of classical Chinese poetry is practically inaccessible to even today’s native speakers of Chinese, the poetry of the five contemporary poets studied in this course is written in the vernacular and serves as a rich source of authentic texts for this course, which integrates language learning with poetry study. The five poets, all born after 1980, each offer a unique perspective into the changing society and culture of modern China.
This advanced Chinese course engages students in a deep exploration of China’s two most influential philosophical traditions—Confucianism (儒家) and Daoism (道家)—through direct engagement with authentic classical texts. We will read selections from The Analects (《论语》) by Confucius, The Daodejing (《道德经》) by Laozi, and the Zhuangzi (《庄子》), accompanied by the instructor’s own translations to facilitate comprehension of classical Chinese.
In this class, students will start working on their artists' book documenting their ongoing MFA thesis research, process and practice, and we will discuss how this relates to potential ideas for Research As Action presentations. To make this possible, we will use software such as Adobe CC Indesign and Photoshop. Slide presentations, software demos, group and individual critiques will help students develop and shape their ongoing thesis research and actions.
The term will be spent focusing on a teaching statement, evidence of teaching history, with a focus on intersectional Life writing. The continuation of the collection of documentation of professional activity, a full CV, an artist statement, and any other applicable statements will be added to the materials to create the fullness of the Portfolio book. An artist’s talk will conclude the portfolio process during the summer term.
The term will be spent focusing on a teaching statement, evidence of teaching history, with a focus on intersectional Life writing. The continuation of the collection of documentation of professional activity, a full CV, an artist statement, and any other applicable statements will be added to the materials to create the fullness of the Portfolio book. An artist’s talk will conclude the portfolio process during the summer term.
This course allows students more time to complete thesis project work.
This course allows students to self-design course work by combining topics and approaches from the Practice LABs and the Study LABs to meet required hours. The Individualized LABS take the form of a series of self directed intensive workshops and study immersions.
Variable Credit, 1-2 Credits
Through mentor approved independently paced work, students develop and schedule their own weekly, planned creative practices using student-initiated resources and/or classes. Mentors guide students through the designed plan that can include a combination of practices, techniques, technologies and methodologies. The study format should provide opportunity for varied approaches and choices.
This topic driven seminar focuses on current developments within the field of dance and performance. Students will learn to think of dance and performance through their own embodied experiences and by placing dance, movement, and performance in wider disciplinary, cultural and global contexts.
Where and how does study happen? What is the value of study and how do we recognize that value? What does it mean to think of our study of dance and performance as an encounter and how might that thinking offer up a chance for one to pay attention differently? Is it different from research? Or, as Kevin Quashie suggests, does it perhaps re-situate the activities of research, scholarship, teaching and practice in an important way? These Labs take the form of intensive workshops and/or lectures.
Variable Credit, 1-2 Credits
What does studying together offer us critically that studying alone might not? Ariella Azoulay refers to studying with companions as a method of unlearning. What are the shifts experienced when you are studying with and alongside others? What conditions might group study provide that allow different questions and understandings to emerge? If, as Irit Rogoff states, “All research is collaborative,” how might these study groups expand our thinking through collaborative practices? What methodologies emerge?
The record of the processes and research practices take shape in the writing and designing of the artist’s book. The Research as Actions are discussed and planned. These actions are shared informally and at the conclusion of the term.
Students propose, plan, discuss and develop a (research) thesis project. They choose a thinking partner to work alongside and begin the processes.
This course explores the art and science of mixing and producing audio for both emergent immersive formats and traditional legacy platforms. Students will gain hands-on experience with spatial audio technologies such as Dolby Atmos, Ambisonics, and binaural mixing, while also mastering industry-standard techniques for stereo and 5.1 surround sound production.
This ensemble-based course explores the intersection of live performance, experimental soundscapes, and dub aesthetics. Rooted in the traditions of dub music—including remix culture, delay and reverb manipulation, and bass-driven textures—students will create immersive sonic environments using a mix of acoustic instruments, electronic tools, field recordings, and live effects processing.
This seminar course investigates the cultural, philosophical, and aesthetic dimensions of sound through critical readings, listening exercises, and discussions. Drawing from fields such as sound studies, media theory, musicology, literature, and art, Readings in Sound challenges students to consider how sound shapes experience, knowledge, identity, and space.
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 alternative methods of physical sound creation through programming languages and mechanical paradigms such as solenoids and sensors.
This course introduces students to two foundational texts in Chinese thought: The Twenty-four Stories of Filial Piety, which highlight the Confucian ideal of devotion to one’s parents, and the Tales of Zhuangzi, which reflect Daoist values of spontaneity, naturalness, and freedom. By reading these works in translation and in modern Mandarin at the student’s language level, the class explores the interplay between Confucian and Daoist perspectives—two traditions that have profoundly shaped Chinese culture.