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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.

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 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 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.

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.

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?

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 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.

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.

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.

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.

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 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

What does it mean to grieve? To perform sadness & loss? Who is the audience? Where is the stage? This first year seminar focuses on writing as self care, writing to breakthrough, and writing to/for our own collective trauma. We will read & consider a range of art & writing from Alison Bechdel, to Rachel Cusk, Sally Mann & Virginia Woolf. We will also welcome, (but not require) stories of our own losses and unimaginable pain, in turn examining, through deep concentration and discussion; something permanent and good. Students will complete 15-20 pages of writing (2 essays followed by a substantial revision) in addition to in-class writing, presentations, and peer workshopping.

FYS 1 provides guided experience in college-level writing, thereby forming the necessary foundation for FYS II and upper level Liberal Arts classes. This section of FYS 1 will take a deep dive into the minds of both Mary Shelley, author of Frankenstein (1818) and Victor Frankenstein, the infamous scientist who reanimated body parts into his infamous Monster. We will read, write, think, watch, discuss, and critically reflect on one novel and its continuing legacies into the twenty-first century. Readings and screenings will include the Frankenstein novel by Mary Shelley, secondary scholarship on her novel, films that adapt and rework Frankensteinian themes, and one graphic novel updating of the classic myth. Students 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, two presentations, and in-class writing.

This class serves as an introduction to the basic concepts of existentialism through a study of a couple of foundational texts by one of its principal philosophical proponents: Jean-Paul Sartre. The class will focus on existentialism¿s response to a newly emerging awareness of the contingency of moral values. With respect to this problem, we will explore central existentialist concepts such as freedom, and authenticity. 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.

In this writing-intensive course, we'll read coming-of-age novels and memoirs from influential contemporary writers. Students will engage in close readings of texts that interrogate concepts of resilience, racism, and economic and class oppression as childhood struggles. Writers will include Jeannette Walls, Allison Bechdel, and Kiese Laymon. CONTENT WARNING: The content and discussion in this course will necessarily sometimes engage with issues of human suffering, including physical and sexual abuse. Students will write 15 to 20 pages of formal, revisable writing. In-class activities include peer review, workshopping, and free writing to generate paper topics, including a formal, argument-driven paper.

In this writing course, students will read and write about different forms and movements of contemporary poetry, ranging from 1951 to the present, including sonnets, prose poems, Black Arts Movement, confessional poetry, and free verse. Not only will students be introduced to a wide range of poets¿like Gwnedolyn Brooks, Cathy Song, Li-Young Lee, Garret Hongo, Jericho Brown, Ada Limon, Layli Long Soldier, Franny Choi, and Billy Collins¿but students will also add to the curriculum by presenting poets of their own choosing. Individual interpretations will be practiced through a slow-and-close reading, and written assignments will include a sequence of shorter papers and end with a longer project where students will compose and share their own anthology¿all of which will add up to at least fifteen pages of revised writing. The process of writing will be practiced throughout this course, from brainstorming, to drafting, to peer review and revising. 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.

This course will focus on texts by ancient and medieval women dating from the earliest years of recorded writings and spanning time up to the Renaissance. Who were the women writing during those mysterious periods? To whom were they speaking and what did they dare to say? For some of them, relatively few of their works have survived for us to read, so our investigation will include consideration of a combination of factors that are relevant to each such as historical perspectives, specific life circumstances, and, of course, the content of their writing. Writers we will study will include Sappho, Sei Shonagon, Hildegard of Bingen, Christine de Pizan, and Akka Mahadevi, among others. As a First Year Seminar I course, the essay writing focus of this class will be to develop and build skills in writing response and analytical essays related to assigned readings, research, and class discussion. The final project will be a research-based presentation, with a creative component.

This writing intensive seminar introduces the anthropological study of time and ethnographic writing about time. From Doctor Who and the Tardis, to keeping or losing track of time like Alice in Wonderland down the rabbit hole, notions of temporality vary across time zones, culture, and space. Using ethnographic writing, this course examines time as a social and historical phenomenon. From agricultural rhythms of rural life in Africa and the Pacific Islands, to astrological and archaeological accounts of time from Celtic and Greek mythology, students will explore the social lives of calendars new and old. This includes other timekeeping tools like clocks and chronological standards in modes of transportation for buses, trains, and planes, including communication and recordkeeping systems like banks, phone records, and emails. Specific emphasis will attend to the objective and subjective understandings of time and the various temporal forms of daily life, drawing from contributions of ethnographic research and social science writing to the study of time from a cross-cultural perspective. Course activities center around developing analytic skills in the genre of ethnographic writing through in-class free writing, generating observational field notes and journaling, two formal and revisable essays, and peer review.

The oldest art depicting boats was created 40,000 years ago. For just as long, the sea¿barrier, connector, nurturer, destroyer¿has fascinated artists and authors. Its sound calms us; its mystery thrills us; its strength terrifies us. This course will focus on texts that span a variety of nations, languages, time periods, genres, and mediums, all of which explore the collective human experience of the sea. What voices does the ocean use to speak to us, and what does it say? In response to these questions, we¿ll read texts by Herman Melville, Rivers Solomon, and Homer; examine ancient myth and Lovecraftian mythos; view illustration and animation by Trungles and Hayao Miyazaki; and listen to sea shanties, Debussy, and clipping. As a First Year Seminar I course, the essay writing focus of this class will be to develop and build skills in writing response and analytical essays related to assigned readings, research, and class discussion. Students in FYS I should expect to write 15 to 20 pages of formal, revisable writing in addition to homework exercises and in-class writing. This writing will take the form of two essays with multiple drafts based on instructor and peer workshop feedback.

This course emphasizes, in keeping with First Year Seminar I courses in general, student writing and rewriting. Students will achieve both content and form for their writing by a close reading of texts and critical thinking about them, and then by considered review of feedback from the other seminar members. As is normal in seminars, student presentations occupy a significant amount of class time. In particular, this course confronts death, along with related phenomena such as aging, dying, grieving, and bereavement, in both interdisciplinary and intercultural manners. The direction of study will move from death as a biomedical event thru religious, spiritual, and existential events, and conclude with postmodern possibilities such as cryonics and mind-uploading. A key concern is whether, and to what extent, one?s attitude and approach to death informs one?s attitude and approach to life. The course utilizes various classical and contemporary texts to help expand and enrich our understanding, and each week students will provide thoughtful and polished reports on the assigned readings from them. By the end of the semester students will have written 15-20 pages of formal, revised writing in the form of weekly seminar reports, a midterm paper, and a final paper.

Adolescents feature prominently as saviors and remakes of the world in culture stories and myths from around the globe, as well as in contemporary young adult fantasy. Anthropologically, adolescents are potentially powerful agents of change because they are imperfectly socialized and not yet tied to conservative adult roles and norms. In this course students will develop their skills in writing at the college level as well as critical reading and analysis of Young Adult Fantasy novels and scholarly works on the genre and the phenomenon of adolescence. Students will read three novels in totals by authors such as Terry Pratchett, Diana Wynne Jones, Nnedi Okorafor, and Garth Nix. They will also read a small number of scholarly work by anthropologists and scholars in the genre of Young Adult Literature as a point of deeper entry into a body of literature that is often dismissed as simplistic, and a phase of the life cycle that is underscrutinized. Through scaffolding of short writing assignments, including peer review, students will produce three essays, resulting in approximately 15?20 pages, total, of formal, revisable writing.

In our class we will read recently released poetry by Asian American authors. The poems and poetry collections are written by individuals who are amongst the multitude of identities known as Asian American. Readings often include works by Jenny Xie, Ocean Vuong, and Rajiv Mohabir. 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, 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.

This course first explores the myths and folktales of pre-Christian Ireland. We read about dolmen and druids, Maeve, Queen of Connacht, Finn MacCool, Deirdre, and Cuichulain. How do battle-hungry, sexually-charged Celts compare to characters in James Joyce's Dubliners' Historical texts (including How the Irish Saved Civilization by Thomas Cahill) examine how the status of women changed after the arrival of Roman (vs. Celtic) Catholicism, the Book of Kells, and the long-term effects of the Great Famine on the Irish character. Contemporary fiction writers studied include, W.B. Yeats, Eavan Boland, Rosemary Mahoney, and postmodern favorite Flann O'Brien, among others, with a focus on the influence of Celtic myths on contemporary Irish life and writing.

This is a writing course, with the goals of helping you write excellent basic English and developing your skills in presenting arguments, using careful observations of art works and careful readings of writings on art. Reading is one way of improving your writing, and we will study essays almost entirely by artists, likely including photographers (Paul Strand and Edward Weston), painters (Gerhard Richter and Agnes Martin), sculptors (Constantin Brancusi), filmmakers (Dziga Vertov and Maya Deren), architects (Louis Sullivan), and conceptual artists (Barbara Kruger and Jenny Holzer). We will view art by the artists whose work we consider, and discuss both how their written statements connect with their work and the larger problem of using writing to describe and interpret visual art. There will be short assignments on the writing and work of the artists we consider, and one assignment in which you write an artist's statement, either for the work you are now making or for the work you hope to make. There will also be a research paper on an artist of your choice with the instructor's approval, in which you argue a thesis about that artist's work. Each of these assignments will also be revised based on the instructor's comments, and the minimum length of all together will be at least 7,500 words.

The terms ¿self¿ and ¿portrait¿ are so ubiquitous that they often go underexamined. This class invites students to consider the ¿self¿ on a philosophical level, and to feel out the complex, blurry parameters distinguishing a portrait an artist makes of another from a self-portrait. The historical contexts within which various self-portraits in 20th century art and literature were produced will inform our inquiries into how society shapes the ways we think about/represent our 'selves' and vice versa. These will include artworks by Claude Cahun, Beauford Delaney, Catherine Opie, and Marisol, as well as texts by Joe Brainard, Michelle Tea, Edouard Levé, Nathalie Léger, and contemporary literary critics. Selections from diaries of artists and writers will also feed our interests, including those of Frida Kahlo, Eva Hesse, Franz Kafka, Audre Lorde, and David Wojnarowicz. Finally, we will interrogate the ethics and implications of self-portraiture today, in a culture glutted with them to an unprecedented degree. What does it say about our ability to register and respond to the present moment¿one shaped by large structures and forces¿that our art and literature often operate at the scale of the individual self? FYS I courses develop college-level writing skills and prepare students for FYS II and upper-level Liberal Arts courses. In this process-oriented class, students will build such skills through 15-20 pages of formal, revisable writing (two multi-draft essays) in addition to preparatory homework assignments and in-class writing. Work will be undertaken independently and collaboratively through self-assessment, guided workshops, and peer review.

FYS I are theme-based writing courses designed for first-year students, with an emphasis on teaching foundational writing skills. Students will develop the intellectual skills of reading critically, and writing responsively, which forms the basis of each student's career at the School. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds, which may include critical, analytical and argumentative essays. A significant amount of time is devoted to the craft of writing. Grammatical and organizational strategies, argumentation, and skills in thesis/claim and idea development are explored. Students should expect to write 15-20 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing, short homework exercises, and workshopping of student work may be included. Individual meetings to discuss each student's papers should be expected.

Bird talk is talk about birds, about flight and flying, migration, metamorphosis, and song; about bird-beings and human beings, who want to be birds or, at least, bird-like, and about artists whose art is avian inspired. Readings for this writing course include essays and a selection of myths, tales, and poems; visual texts include bird-art at the Art Institute. Students write and revise several essays, including a comparative textual analysis and a verbal-visual ¿field guide¿ of their own design.

Do you believe in wizards? Are you a wizard? Then pack up your talismans, fetishes, and gamelans into the mysterious little satchel you carry at your side and get ready for some incantatory magic. We will investigate the figure of the wizard as an archetype, a literary symbol, a vehicle for fantasy, and as a commanding reality while considering such things as A Wizard of Earthsea, the figure of Merlin, The Teachings of Don Juan, Conversations with Ogotemmeli, the figure of Harry Potter, Howl¿s Moving Castle, Yeelen, the poetry of W.B. Yeats, Jay Wright, and Hoa Nguyen, the spells of Maria Sabina and Anglo-Saxon Leechcraft, as well as some other things too secret to reveal at present, including the nature of esotericism. FYS I develops college-level writing skills and prepares students for FYS II and upper-level Liberal Arts courses. This is a studio writing class in which you will focus on writing as a process. You will formulate lines of inquiry, develop arguments, and use your writing to engage meaningfully with the material you read for and discuss in class. You can expect to compose and revise 15-20 pages in a variety of formal writing assignments. All of your writing can be revised. Peer review and one-on-one writing conferences with the teacher is something you can also expect.

This class invites students into a conversation around the HBO series ¿The Wire.¿ Through writing, discussion, and peer review, students will think critically about television as an art form, hyperrealism, and the lived experience of people in and excluded from civic institutions. This is a writing-focused course investigating both the form (broadcast television) and the content of a commercial art form. The assignments are intended to help students master college-level writing skills namely drafting, espousing an argument, revision, and peer review. Aside from the primary material (Most of Seasons 1-4 of ¿The Wire¿ with Season 5 as optional viewing), students will read excerpts from Toni Morrison, Michel Foucault, James Baldwin, Alec Karakatsanis, Dennis Lehane; Jonathan Abrams; Felicia Pearson. Students are expected to write two essays and a substantially revised version of either one of the essays. Essay 1 will be 4-6 pages. Essay 2 will be 6-8 pages. This is in addition to the several one-page reflections and episode-breakdowns interspersed through the semester.

This First Year Seminar course will explore humor writing as a serious artform, and will employ analysis strategies to get at the core of the question of what makes something funny. By the end of the semester, students will be able to write analytical essays that pick apart and organize ideas around both literature and humor, and will read and explore humorous writing throughout the English canon. The psychology of humor - exactly what it is that makes something funny - is complicated and requires careful mastery. This course will examine how writers and artists have historically used humor to reach audiences deeply, emotionally, and politically. Through works by Mark Twain, Dorothy Parker, Langston Hughes, Nora Ephron, Susan Orlean, Jack Handey, and Trevor Noah, we will get to the heart of what makes something funny, and how humor has changed over time. We will also look at the different formats of comedy, including satire, parody, film-writing, stand-up comedy, and more. Students should expect to write 15 to 20 pages of formal, revisable writing (4 short papers and one medium-length paper). In addition, they will do regular, rigorous in-class writing, and engage in weekly analytical conversation.

Musicality and an exquisite choice of words, sensory detail, and form¿the elements of masterful crafting in poetry offer a flight into worlds both familiar and unfamiliar and language for experiences which are often otherwise wordless. In this course students will consider a range of poems across the timeline of literature to learn how to read poetry deeply and thoroughly, both for content and to recognize craft as it supports meaning. Some poets likely to be considered are Sappho, Gertrude Stein, Sylvia Plath, Maya Angelou, Julia Alvarez, Jericho Brown, Ocean Vuong, Jo Harjo, and Amanda Gorman, among others. The work of this course will involve assigned readings, related research, and presentations. Students will be expected to write essays based on course content that are developed from early draft through final revision stages to total 15-20 pages of writing, as well as engage in writing exercises and discussions.

Modern European literature is often characterized by an attraction to decay, nothingness and an obsession with physical corruption and death. In L. Tolstoy¿s Death of Ivan Ilych (Cancer), T. Mann¿s Death in Venice (Cholera) and A. Camus¿ The Plague (Bubonic Plague) disease is both the literal subject of the novel as well as the symbol of individual and social dissolution, disintegration and despair. Modern writers have inherited from the German Romantics the idea that the artist is ill and that illness gives her knowledge and spiritual power. In this course we will examine the legend of disease associated with the German Romantics. By turning to the works by V. Woolf, Novalis and Schopenhauer we will examine why they endowed disease with positive value, crediting it with the development of spiritual values that would otherwise remain dormant. We will also consider S. Sontag's anti-Romantic argument that disease spell deterioration, physical, mental and moral rather than some indefinable precious value. Students will be expected to write 3 papers, 5-6 pages each, aimed to develop analytical, persuasive and critical thinking skills.

Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program.

Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures.

Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.

This course is a comprehensive introduction to two-dimensional architectural and interior architectural representation. Students learn hand-drawing and digital techniques to produce orthographic, axonometric, isometric, and perspectival projections in individual and group projects. Students move between two- and three-dimensional representation, developing robust skills for design drawing.

Typically the course will review the work of architects and designers throughout the history of architecture representation. Readings will vary and focus will be concentrated on understanding and putting into practice the mechanisms of drawing.

Course work consists of building techniques and practice of drawing. Classes will develop incremental skills through assignments and projects that culminate into complex drawings and representations. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.

Photography can count as a forensic technology, a form of official identification, a documentary record, and a means of surveillance. Yet photographs can also be deceptive, particularly in our age of digital manipulation. In this writing-intensive course, we will examine the circumstances under which photography is treated as art and/or evidence. Readings will cover a range of subtopics from social media & selfies to political photography, from advertising & Photoshop to family albums. Writing assignments ? totaling 15-20 pages over the course of the semester ? will emphasize analysis, argument, research, revision, and other academic writing skills.

This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.

This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.

Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program.

Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures.

Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.

Why are we fascinated with con artists¿both real and imagined? In this writing-intensive course, we will deepen the skills of argument-driven composition as we explore the sometimes tenuous boundary between authenticity and duplicity. We will examine the con artist as both the protagonist and antagonist in fictional works, as well as the subject of ¿true crime¿ books and documentaries. These materials will inform multiple argument-driven essays which students will draft and revise over the course of the semester. 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.

This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.

Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program.

Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures.

Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.

This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.

Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program.

Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures.

Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.

Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program.

Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures.

Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.

This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.

Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program.

Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures.

Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.

Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program.

Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures.

Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.

How do different conceptions of nature and the environment affect how the planet is treated and sustained? What is the role of the human in nature? In turn, what can nature teach humans about equity, resilience, and reciprocity? Can adopting a decolonial mindset offer a pathway to both ecological and social healing? By exploring differing cultural conceptions of land and nature, students will investigate a variety of paths to sustainability led by ecologically conscious writers who have turned both to nature, Buddhist thought, and indigenous wisdom for balm and inspiration. Texts will include short selections from the naturalist Sy Montgomery, Margaret Rankl, Diane Ackerman, Edward Abbey, Robin Wall Kimmerer, Linda Hogan, Louise Erdrich, Simon Ortiz, Leslie Marman Silko, Yiwen Zhan, and Bing Song, as well as short films and artworks that address environmental issues.

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.

Comprehensive introduction to three-dimensional architectural and interior architectural representation and fabrication. Through individual and group projects, students learn hand-modeling and digital fabrication techniques, and become super-users of the School?s shops and Advanced Output Center. 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 move between two- and three-dimensional representation in the development of robust skills for design communication. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.

The term 'anarchism' derives from the Greek an-archia, non-rule, and describes the idea of a society without state, classes, or other forms of oppression and exploitation. However, anarchism is not only an idea, but also a practice: it names a political struggle for emancipation, an attempt to bring the idea of self-organization and solidarity into practice. We will begin by exploring a range of classical anarchist positions concerning the state, human nature, mutual aid, the family, and revolution. Readings will be drawn from classical theorists like Kropotkin, De Cleyre, and Goldman, as well as contemporary philosophers like Chiara Bottici. Reconstructing these debates will allow us to practice analyzing, synthesizing, and situating philosophical claims and political arguments, while formulating our own understanding of a diverse range of social problems. In the second half of class, we will also explore the utopian imagination of anarchist science fiction, including work by Le Guin and others. Applying theoretical frameworks to the analysis of literature will allow us to practice more sophisticated styles of writing and argumentation incorporating multiple sources, styles, and formats. Students can expect to produce 20-25 pages of scaffolded, revisable, formal writing, including two essays and an in-depth research project. In-class workshopping of student papers should also be expected.