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Reading Art is a seminar that orients students to college studies and emphasizes students' advancement of college-level critical reading and thinking skills. Students learn how to read and analyze artworks using the formal vocabulary of art and design, as well as how to read about art in art history textbooks, scholarly journals, and other sources. Students improve their ability to process, retain, and apply information by using active learning strategies and graphic organizers, including a schematic note-taking system. In addition to weekly readings and exercises, students complete an in-depth synthesis project on an artwork of their choosing. Regular museum visits complement class work.

Introduces the meaning and making of architecture and interior architecture through individual and group design projects. Students learn design processes by experimenting with materials and exploring architectural and interior architecture representation, and measure the implications of their work on broader cultural contexts. Students work on design projects using the latest software and digital tools, and develop techniques for integrating analog and digital design and fabrication processes. Students research historic precedents and contemporary culture and design to inform their work. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.

This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea.

'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications.

Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.

The art of life writing includes yet transcends the genres of (auto)biography, memoir, confession, diaries, journals, and social media posts. It is a way of life, a creative practice, a performative invitation of past, present, and future selves. As an essential skill of self-representation beyond the classroom, life writing is ideal for exploring the roles of memory, time, authority, and experience in creating individual and collective identities. This seminar will engage key figures across the span of life writing, including Frederick Douglass, who, regarding biographical details such as his age and parents, writes, ¿I know nothing; the means of knowing was withheld from me.¿ As we experiment with innovative tools for writing life in the 21st century, including voice-based composition, we¿ll consider the styles and effects of life writing, including its power to discover as well as create knowledge. Other texts may include St. Teresa¿s Life, Mary Karr¿s The Art of Memoir, Tara Westover¿s Educated, and Ben Franklin¿s Autobiography. Authors including ­­Sidonie Smith, Julia Watson, Leigh Gilmore, and Ben Yagoda will provide critical context for our discussions. Students will create 15-20 pages of formal, revisable, and publishable writing across three short essays and two in-depth revisions. FYS I guides students through college-level writing, establishing foundations for FYS II and upper level Liberal Arts classes.

This course introduces students to the creative scope of the Designed Objects program, and the ideas, skills, and methods used in the process of designing objects. Students will learn about the design of objects by studying their form, function, assembly, materiality, use, value and significance (both subjective and objective). Emphasizing thinking through making; students students build their visual vocabulary and develop an understanding of the design process. The goal of this class is to help students imagine the possibilities of the object design field and identify their aptitude for becoming an object designer.

The course will explore the intentionality of object design, exploring the works of a ranging from James Dyson to Ron Arad to Zaha Hadid. Readings and screenings will vary but typically include Mu-Ming Tsai's Design Thinking and Gary Hustwit's Objectified.

Students should expect to produce a body of work consisting of several minor exploratory projects and two fully fleshed out finished Objects (mid-term and final).

This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

This course will focus on developing beginning and continuing skills on the wheel. Students will be introduced to fundamental methods for using the wheel as a tool to create vessels with consideration of their meaning and consequence and stretch the boundaries of utility. In addition to the design and structure of functional objects, this course will familiarize students with the working properties of ceramic material, firing methods, and glazes.

We will look at artists working both in traditional and non-traditional methods. Artists will vary, but some we will look at include: Edmund de Waal, Alleghany Meadows, Gerrit Grimm, Mike Helke, Steve Lee, and more. Readings will include articles covering topics about the convergence of fine art and craft, how objects affect our daily life and rituals, the place of craft within contemporary society. Specific authors may be : Chris Staley, Glenn Adamson, Jenni Sorkin, Okakura Kakuzo and Edmund de Waal

Projects vary, but typically there are 5-6 assignments in the course with each assignment consisting of 3-20 pieces of finished work with additional research in glaze and firing processes. Students will also have readings and responsibilities with firing work.

Reading Art is a seminar that orients students to college studies and emphasizes students' advancement of college-level critical reading and thinking skills. Students learn how to read and analyze artworks using the formal vocabulary of art and design, as well as how to read about art in art history textbooks, scholarly journals, and other sources. Students improve their ability to process, retain, and apply information by using active learning strategies and graphic organizers, including a schematic note-taking system. In addition to weekly readings and exercises, students complete an in-depth synthesis project on an artwork of their choosing. Regular museum visits complement class work.

Introduces the meaning and making of architecture and interior architecture through individual and group design projects. Students learn design processes by experimenting with materials and exploring architectural and interior architecture representation, and measure the implications of their work on broader cultural contexts. Students work on design projects using the latest software and digital tools, and develop techniques for integrating analog and digital design and fabrication processes. Students research historic precedents and contemporary culture and design to inform their work. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.

This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea.

'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications.

Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.

FYS I breaks down the critical writing process to provide a guided experience in college-level writing, thereby forming the necessary foundations for FYS II and upper level Liberal Arts classes. The class will explore whether the concept of a hyphenated identity (a dual identity divided by ethnicity, race and culture) stands for otherness, opposition, inclusion, or all of the above. Essays by hyphenated writers, such as Ronald Takaki, Judith Ortiz Cofer, Amy Tan, and Audre Lorde, will act as points of departure as well as models of writing for our exploration of the myth of the United States as a cultural melting pot and whether we can reclaim the hyphenated identity as a source of pride and empowerment in today¿s political climate. Students build writing skills through 15-20 pages of formal, revisable writing (i.e. three multi-draft essays) in addition to homework exercises and in-class writings. Through thoughtfully crafted writing, can we begin to give voice to ethnic populations and create an open dialogue about race, displacement, migration, post-colonialism, post-imperialism, and representation?

This course introduces students to the creative scope of the Designed Objects program, and the ideas, skills, and methods used in the process of designing objects. Students will learn about the design of objects by studying their form, function, assembly, materiality, use, value and significance (both subjective and objective). Emphasizing thinking through making; students students build their visual vocabulary and develop an understanding of the design process. The goal of this class is to help students imagine the possibilities of the object design field and identify their aptitude for becoming an object designer.

The course will explore the intentionality of object design, exploring the works of a ranging from James Dyson to Ron Arad to Zaha Hadid. Readings and screenings will vary but typically include Mu-Ming Tsai's Design Thinking and Gary Hustwit's Objectified.

Students should expect to produce a body of work consisting of several minor exploratory projects and two fully fleshed out finished Objects (mid-term and final).

This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work.

The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history.

There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

Reading Art is a seminar that orients students to college studies and emphasizes students' advancement of college-level critical reading and thinking skills. Students learn how to read and analyze artworks using the formal vocabulary of art and design, as well as how to read about art in art history textbooks, scholarly journals, and other sources. Students improve their ability to process, retain, and apply information by using active learning strategies and graphic organizers, including a schematic note-taking system. In addition to weekly readings and exercises, students complete an in-depth synthesis project on an artwork of their choosing. Regular museum visits complement class work.

Introduces the meaning and making of architecture and interior architecture through individual and group design projects. Students learn design processes by experimenting with materials and exploring architectural and interior architecture representation, and measure the implications of their work on broader cultural contexts. Students work on design projects using the latest software and digital tools, and develop techniques for integrating analog and digital design and fabrication processes. Students research historic precedents and contemporary culture and design to inform their work. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.

This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea.

'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications.

Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.

Through thoughtfully crafted writing, can we begin to identify and address how problems of class, race, and gender are intertwined in ways that maintain oppression and inequality? This course attempts to do so by breaking down the critical writing process and providing a guided experience in college-level writing, thereby forming the necessary foundations for FYS II and upper-level Liberal Arts classes. Student writing will explore the American class-based system and its connections to race and gender. Course materials include essays by bell hooks, Donna Langston, and Audre Lorde, as well as screenings, such as interviews with Isabel Wilkerson discussing her book Caste. These course materials will act as points of departure as well as models of writing for our critical examination of class in American society and its role in maintaining systems of oppression and inequality. Critical writing skills are developed through 15-20 pages of formal, revisable writing (i.e. two multi-draft essays and one in-depth revision project) in addition to homework exercises and in-class writings.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work.

The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history.

There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

Reading Art is a seminar that orients students to college studies and emphasizes students' advancement of college-level critical reading and thinking skills. Students learn how to read and analyze artworks using the formal vocabulary of art and design, as well as how to read about art in art history textbooks, scholarly journals, and other sources. Students improve their ability to process, retain, and apply information by using active learning strategies and graphic organizers, including a schematic note-taking system. In addition to weekly readings and exercises, students complete an in-depth synthesis project on an artwork of their choosing. Regular museum visits complement class work.

This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea.

'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications.

Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.

Greek tragedies not only established tragedy as a form, but they crystallized accounts of the Greek myths that have pervaded the cultural imaginary ever since, attested in the many filmic adaptations of Greek tragedies. In this course, we read the tragedies, coupled with viewing their adaptations. Preferring the translations of poet Anne Carson, we read seven tragedies, watch seven adaptations, and read a handful of literary and film criticism. In particular, we read Susan Sontag, Laura Mulvey, Claire Johnston, and Carolyn Dunham, and watch films by Jules Dassin and Sophie Deraspe. For the first half of our meeting, we¿ll discuss a tragedy, or watch and discuss one. For the second half of the meeting, we¿ll learn specific writing concepts, which we¿ll then apply to the previous week¿s completed Writing Exercise, analyzing the writing of your peers, and suggesting revisions. Students can expect to write one to two pages per week for most of the term, with the goal being to have produced 15-20 pages of formal, revisable writing by end of term.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work.

The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history.

There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

Introduces the meaning and making of architecture and interior architecture through individual and group design projects. Students learn design processes by experimenting with materials and exploring architectural and interior architecture representation, and measure the implications of their work on broader cultural contexts. Students work on design projects using the latest software and digital tools, and develop techniques for integrating analog and digital design and fabrication processes. Students research historic precedents and contemporary culture and design to inform their work. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.

This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea.

'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications.

Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.

Music is sometimes called the universal language, yet writers often seek to describe it in words. Music scholars, music critics, music fans, and musicians use words to describe music and to make claims about its merits. This course will explore various styles, techniques, and vocabularies for writing about musical sound and performance. The focus will be on reviews of live concerts, album releases, and film music. Students will develop critical thinking skills by evaluating the effectiveness of an author¿s argument. Students will practice making claims and presenting arguments that are successfully supported by writing style, sources, evidence, structure, and logic. Students will read various articles, essays, and chapters about music by historical and contemporary music scholars, critics, and journalists. Topics vary but may include film music, art music and modernism, music technology, and the recording industry, with a focus on music in the 20th and 21st centuries in the United States. In addition to in-class writing assignments, students will write an original research paper, broken down into several assignments/ drafts. Students should expect to write 15-20 double-spaced pages over the course of the term, including revisions based on instructor and peer feedback.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work.

The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history.

There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

Reading Art is a seminar that orients students to college studies and emphasizes students' advancement of college-level critical reading and thinking skills. Students learn how to read and analyze artworks using the formal vocabulary of art and design, as well as how to read about art in art history textbooks, scholarly journals, and other sources. Students improve their ability to process, retain, and apply information by using active learning strategies and graphic organizers, including a schematic note-taking system. In addition to weekly readings and exercises, students complete an in-depth synthesis project on an artwork of their choosing. Regular museum visits complement class work.

This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea.

'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications.

Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea.

'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications.

Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work.

The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history.

There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work.

The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history.

There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea.

'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications.

Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work.

The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history.

There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

As citizens, our only contact with the legal system usually occurs when we have gone awry of the law. We see the legal system from the outside, and it¿s not pretty. We also know that the law protects our rights¿despite this knowledge, the legal system has a reputation of working for the rich while stepping on ¿the little guy.¿ And lawyers? Everybody hates lawyers. But at its heart, the law is two parties telling a story and submitting those stories to a third party who judges which one best fits the law. This course will begin with discussions and writing exercises based on stories and storytelling. Each week after that, we will read and discuss cases or stories related to the law and write about these stories, their role as ¿story,¿ and how they fit into the general standards and notions of what a story is. Papers will focus on the story¿s relation to the law, and the structural and rhetorical elements used in the stories, storytelling and academic discourse as a whole. They will also focus on effective ways to present opinions. Through the legal elements of the course, students will learn critical thinking skills by evaluating the case, the story, and the relationship between the two. They will discern how the case was put together, which elements of argument were used, and why. Students will read cases that are vital to U.S. history, are entertaining, or both. These will include Marbury v. Madison, Palsgraf, and others. Among other readings will be works by Jonathan Shapiro and Franz Kafka. In addition to in-class writing, students will write 15-20 pages of formal writing over the course of the term, using a process approach, including instructor and student feedback.

In this first-year seminar course, we will explore a variety of contemporary short films, stories, and poetry to help us hone our ability to make meaning with complex works of art and to engage in critical, interpretive analysis of how and why each work was constructed. Using short films, short stories, and poems as our core texts gives us the unique opportunity to engage with a wide range of both storytellers and stories told. Meaning, expect to interact with a diverse landscape of authorial voice, thematic content, and narrative technique. All three of these forms are able to convey complex truths about the world we live in, and our discussions and classroom practices will give us the tools to create focused, nuanced interpretations of each piece and to make critical connections between themes and techniques. By the end of this course, students will have a more sophisticated grasp of the mechanics of film, narrative, and poetry. This is an inquiry and discussion based course, and we will learn to situate questions as the basis of our practice as readers, writers, and thinkers. In addition, FYSI guides students through college-level writing, establishing foundations for FYS II and upper level Liberal Arts classes. Students will write 15 to 20 pages of formal, revisable writing. Our writing workshops will focus on generating questions and language, collecting meaningful evidence, constructing sophisticated thesis statements, creating helpful outlines, and drafting our essays. Peer feedback; 1-1 teacher feedback; and in-class writing workshops will be key components of this course.

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work.

The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history.

There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

This class examines cultural and political power in relation to ideas about sound and noise. What we hear, mis-hear, do not hear, cannot hear, or choose not to hear plays an important role in social life. Those that have power have the power to decide what counts as an acceptable sound or disturbing noise. These facts make sound and noise central to issues of social justice, political activism, and public space. Sound and noise are also vital to the creation of communities of celebration and dissent ¿ in the form of the noise strike, the protest chant, or the collective sing-along, for example. Social groups produce themselves through their listening practices and shared forms of sounding out. We will read and listen closely to scholars, artists, experimental musicians, and journalist like Jennifer Stoever (The Sonic Color Line), Kevin Beasley (A view of a landscape: A cotton gin motor), Gala Porras-Kim (Whistling and Language Transfiguration), Moor Mother (Irreversible Entanglements) and Gregory Tate (Flyboy in the Buttermilk). Additionally, we will learn from a variety of types of sources including Literature, Musicology, Art, Cultural Criticism, Music Journalism, and Poetry. Along with experimental writing assignments linking related topics, key terms, and ideas to personal and social experiences, students will produce 15-20 pages of organized writing broken into drafts and revisions.

What can pop music uncover about power? In this writing-intensive course, we'll look at pop music through the lenses of artistry, politics, and history while developing college-level writing skills that build a foundation for FYS II and upper-level Liberal Arts courses. Artists up for discussion include Lizzo, Britney Spears, Jojo Siwa, Chappell Roan, SOPHIE, and, of course, Beyoncé and Taylor Swift. We'll read authors like Danyel Smith, Sasha Geffen, Julianne Escobedo Shepherd, Hanif Abdurraqib, and Rawiya Kamier and hear from the artists themselves through music, interviews, performances, and documentaries. Class time will be spent writing, revising, and developing skills in critical analysis and making a claim in service of 15-20 pages of multi-draft, formal writing. Throughout the semester, peer-reviewing and one-on-one instructor conferences support the process.

To have curiosity is to be inquisitive, to wonder and to want to know. To be a curiosity, on the other hand, is to be a novelty or rarity, something odd or unusual or strange. In this writing intensive course, students explore curiosities, practice wonder, and pursue questioning. Readings include verbal and visual texts: essays and articles, photographs and artifacts. Students write and revise several essays of modest length, including analyses of visual texts and their own ¿curated collection¿ of curiosities.

Taiwanese director Edward Yang is a poet of film. His intimate epics exhibit a mastery of form characterized by meditative narrative rhythms, long takes, medium shots over close-ups, and a detached, static camera. In this class, we will formally analyze three films¿Taipei Story (1985), A Brighter Summer Day (1991) and Yi Yi (2000) to understand how cinematic techniques work together to create meaning in a film. We will also examine the films within the broader context of the Taiwanese New Wave. First Year Seminar I is an intensive writing course. In class, we will engage deeply with course materials in productive discussions that will foster critical thinking and inform student writing. In addition to weekly homework assignments and in-class writing, students can expect to compose and revise 15-20 pages of formal writing through a process approach to hone their argumentative skills and build their confidence in expressing their ideas clearly and effectively.

This class will examine the American short story and survey its origins and development over the past two hundred years. Our study of the American short story will begin with formal elements of fiction, including how writers use and innovate within traditional storytelling practices, and then we will widen our scope and consider historical and cultural contexts. This literature is challenging and controversial--and studying it will help refine our own thoughts and modes of expression, too. The reading list includes (among others) Nathaniel Hawthorne, Kate Chopin, Sarah Perkins Gilman, William Faulkner, Ernest Hemingway, James Baldwin, Alice Walker, Raymond Carver, Juhumpa Lahiri, Amy Tan, Sherman Alexie, and Z.Z. Packer. Individual interpretations will be emphasized, and a slow-and-close reading of both the literature and our own writing will be practiced. This class will also engage in the process of writing, including prewriting (inquiry and brainstorming), drafting, peer review, and revising. Written assignments will include personal reflection, analysis, and synthesis. FYS I develops college-level writing skills, prepares one for FYS II and upper level Liberal Arts courses, and allows one to improve expressing their ideas in writing.

Surrealism is among the preeminent modes of twentieth century art. It is the product of a specific moment in history, and yet it has proved remarkably adaptable through time and across cultures, languages, media, and genres. This FYS I course introduces students to college-level writing, reading, and critical thinking skills using Surrealism and its legacy as a focal point, and prepares them for FYS II and upper level Liberal Arts courses. We will consider critical and creative writing, as well as some visual art, by figures such as André Breton, Phillippe Soupault, Leonora Carrington, Alice Rahon, Aimé Cesaire, Octavio Paz, Barbara Guest, Alejandra Pizarnik, and Bei Dao. Some topics we might investigate include Surrealism's relationship to the art that came before it; its conceptions of daily life, and individual and collective personhood; its engagement with contemporaneous developments in science and technology; and its relationship to issues of race, class, gender, and to historical events. Students should expect to compose (plan, draft, critique, and revise) 15-20 double-spaced pages of formal writing, in addition to regular in-class and out-of-class writing assignments.

The First Year Seminar program at SAIC gives students the opportunity to develop their analytical writing skills while studying compelling subject matter. Consequently, this course plays two roles. First and foremost, it serves as a writing studio, a forum in which students can develop their prose style and their ability to construct effective written arguments. The course also explores the relationship between artistic expression and the ideologies that characterize a given culture. Artists live in a specific cultural context. Their works reflect the influence of the dominant ideas of that culture, and often serve as a conscious commentary on those ideas. In this course, we will examine the impact of ideology upon art in a variety of world cultures, with an emphasis on cultural comparison.

This class will read texts that explore civil disobedience, protest, the role of the individual in society; the role of government in the lives of individuals; and the intersection of community, government and individuals. We will read from different historical periods, and explore how individual participation is essential for a functioning democracy. Readings will discuss different forms that participation takes, with special attention paid to various types of civil disobedience (Thoreau, Tolstoy, Gandhi, Martin Luther King Jr, and others). Students in FYS I should expect to write 15 to 20 pages of formal, revisable writing (i.e. two essays and one in-depth revision) in addition to homework exercises and in-class writing.

This is an advanced section of the survey of world art and culture, prehistory to 1850. It is intended for BAAH students, Scholars Program students, and students interested in the history of writing about art (and teaching the survey). We will begin at 500,000 BC, and cover approximately 50 cultures; the list is at ow.ly/Y902K. In each case we will also question the ways historians describe the culture; we will study the ways art history textbooks promote certain senses of art and national identity; and we will consider how other institutions have tried to teach the global survey. The class is difficult, and requires a lot of memorization. Concurrent Registration in one ARTHI 1101: Discussion Section for Advanced Survey of World Art Prehistory to 1850 is required.

This course will approach the art of critical thinking and writing through the study of social and political philosophy. Readings will confront us with a wide range of positions for and against democracy, from Ancient Athens to current-day social movements. Our focus will be on recognizing and assessing their core arguments, discussing them critically together, and translating our conclusions into persuasive academic-level essay writing. Is genuine democracy an impossible ideal, only suited to Gods? Can the state express the will of the people through the constitution, the vote, and other procedures of public discourse, or is democracy best conceived as an anarchic force that challenges all institutional authority? Are ¿the people¿ the sum of individuals, a common power, or a potentially-criminal mob? Taking a stance on such debates will allow us to refine the skills essential to good essay-writing: summary, analysis, citation, organization and logical flow, but also suspense, effective use of stories and examples, and mystery. These skills form the necessary foundations for FYS II and upper-level Liberal Arts classes. Students can expect to produce 15-20 pages of scaffolded, revisable, formal writing that includes two essays as well as preparatory homework assignments and in-class writings. In-class workshopping of student papers should also be expected.

In this class, we will discuss the works written by contemporary Asian American writers. As FYS I is a writing class, we will examine these works with the lens of writers. How do these writers create space for themselves and others? Who are they making space for? What problems do they confront? What tools do they use? Our goal is to practice our critical thinking skills as well as our writing skills through studying the works of writers such as: Chin Chin, Grace Lin, Priya Parker, Esme Weijun Wang, Cathy Park Hong, and others. We will also utilize SAIC¿s amazing resources like the Service Bureau, the Art Institute, the writing center, the diversity department, and Title IX office. In this class, students will exercise their voices and embrace the writing process. They will think of writing beyond what happens on the page. Students will be required to write weekly reflections, multiple drafts of an argumentative essay of their chosen topic, and do a class presentation. Students in FYS I should expect to write 15 to 20 pages of formal, revisable writing. Attendance is extremely important and heavily weighted.

This writing-intensive seminar will explore what psychoanalysis and aesthetics offer us in an attempt to feel our way around a gap, a hole, that both traditions posit at the center of human experience. Psychoanalysis, regarded from its inception as ?the talking cure,? has taken its impetus from precisely that which cannot be spoken. Sigmund Freud (1856-1939), the first psychoanalyst, organized this new practice of managing the unconscious stifling of desire under modern life around processes beyond speech such as the dream, hysterical symptom, repetition compulsion, trauma, and the return of the repressed?-all of which testify to a certain pressure that drives our being in language even as it escapes capture in words. Aesthetic experience, like psychoanalysis, finds its power in a play of representation that brings us to the edge of what we can represent, and, in so doing, pushes us into contact with the force exerted within and between us by the unrepresentable. Immanuel Kant (1724-1804), the foundational theorist of modern aesthetics, conceived of aesthetic experience?-of the experience of the beautiful and the sublime?-as a momentary seizure by the feeling of ourselves as beings who cohere around something that we can feel but cannot express, that we can neither rationally explain nor communicate to one another. We will begin with a series of texts in psychoanalysis and aesthetics, and then we will conclude by turning our attention to a series of artistic forms as we use the concepts we have studied to think about painting, film, literature, music, and voice. Using in-class writing exercises and three short paper assignments with drafts and revisions, we will try to collectively develop a style of reading, of writing, and of thinking together that is attentive to feeling and affect rather than exclusively concerned with meaning, understanding, or information. Our writing together will be both an opportunity to learn and refine technical dimensions of writing and also to take seriously writing as a creative space for going beyond technique and into aesthetic invention.

What are minds? What is it to have a mind, to have consciousness? How, if at all, are minds different from machines? In this course, by reading pieces by Shaffer, Carruthers, and Searle, we will become acquainted with these concepts and issues and learn how to think about them in a more informed and critical fashion. The course is writing intensive: students should expect to write 15 to 20 pages of formal, revisable writing (i.e. two essays and two in-depth revisions) in addition to homework exercises and in-class writing and discussion.

We associate colonization with large-scale consequences of violence and diaspora. But what about the less obvious impacts of colonization, those that have become everyday and have rewired the minds of a culture? In our class we will examine subtler forms of colonization on South Asians, particularly those who live in America and the UK. By turning the word anglophile in our hands, we will study how colonization continues through the English language, colorism, and the model minority myth. In addition to readings, we will watch films (such as The Reluctant Fundamentalist) and listen to albums (Riz Ahmed¿s The Long Goodbye). In our FYS I class, we will develop our critical reading, writing, and thinking skills. This is a studio writing class in which we will focus on writing as a process. We will freewrite, formulate conceptual questions for the readings/films/albums, write responses, and compose and revise 15-20 pages in multidraft essays. Students will direct the topic of the final essay based on their individual inquiry. FYS I develops college-level writing skills, prepares one for FYS II and upper level Liberal Arts courses, and allows one to improve expressing their ideas in writing.

In this course, we?ll read about witches across diverse forms of literature including folk and fairy tales, poetry, plays, and short stories. We?ll read writing by The Brothers Grimm, Octavia Butler, Arthur Miller, Joy Harjo, Rebecca Tamas, Jane Yolan, and Yumiko Kurahashi to trace the footsteps and flight patterns of witches as they appear in various roles such as mother, monster, healer, and teacher. In support of our investigations, we?ll also read selected critique essays from Donald Haase?s Fairy Tales and Feminism and from Emma Donoghue?s Kissing the Witch, a collection of deconstructed and reassembled fairy tales. As a FYSI course, the core emphasis of this class will be developing writing skills in preparation for FYSII courses and other writing assignments across SAIC?s curriculum. Students will engage in comprehensive discussion of these readings, conduct related research, and write response and analytical essays, with a final project that incorporates a creative component

Music reflects and informs many aspects of society and culture. This course examines the writings of scholars and critics who have argued for various philosophies, functions, and styles of music. Each week, we will feature a topic related to music¿s role in society and explore issues of aesthetics, expression, and performance. Writing exercises will focus on a specific writing technique or strategy. Students will develop critical thinking skills by evaluating the effectiveness of an author¿s argument through rhetoric, logic, and evidence. Students will practice making claims and presenting arguments that are successfully supported by writing style, sources, structure, and reason. Students will read a selection of music scholars, critics, and writing specialists, including but not limited to Joseph Auner, Jane Bernstein, Susan Douglas, Hua Hsu, Mark Katz, Alex Ross, and Kate Turabian. Topics vary but may include opera, film music, modernism, music technology, protest music, text setting, and musical genre. In addition to in-class writing assignments, students will write an original research paper, broken down into several assignments/drafts. Students should expect to write 15-20 double-spaced pages over the course of the term, including revisions based on instructor and peer feedback.

Attracted by the economic and creative freedom Paris offered, twentieth-century American writers found a place to become the writers they wanted to be and discovered a supportive community of intellectual and visual artists. We will read creative and autobiographical writings, view relevant films, and examine the historical and cultural connection between France and the United States that contributed to the development of American writers, including James Baldwin, Gwendolyn Bennett, Ernest Hemingway, Langston Hughes, and Gertrude Stein. In this course, students will develop their critical reading and writing skills and write three short papers and one longer paper based on research.

In this writing intensive course, we will develop the skills of argument-driven composition as we examine the aesthetic foundation of American cinema: the classic Hollywood studio system of the 1940s. What was the studio system? How was it formed, how did it function, and how did it shape the aesthetics of modern American cinema? We will look at the ways Golden Age studios developed individual identities and how they shaped their specific ¿house styles.¿ In doing this, we¿ll also track the codification of genres like the melodrama, the musical, and the film noir. Readings will include critical works by Raymond Borde and Étienne Cahumeton, Jeanine Basinger, and Ethan Mordden. These materials will inform multiple argument-driven essays which students will draft and revise over the course of the semester. In composing these essays, students will study thesis formation, rhetorical modes, and ways to incorporate outside sources into researched-based arguments. Students should expect to write 15 to 20 pages of formal, revisable writing in addition to homework exercises and in-class writing. By providing guided experience in college-level writing, this course forms the necessary foundation for FYS II and upper level Liberal Arts classes.