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

This course 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 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 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.

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.

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

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

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

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

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

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

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

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.

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 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.

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.

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.

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.

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 develop their capacity to construct effective written arguments. The course also explores contemporary world events in detail; the analysis of this material provides the grist for student writing in the course. Modern technology allows for the nearly instantaneous distribution of news and images around the world. As a result, people in the twenty-first century are bombarded with information about contemporary events. However, much of this information has a superficial character: a dizzying array of media, ever concerned with viewership, stresses drama and controversy over context and complexity. Further, the treatment of events often reflects the agenda of the medium providing that treatment. In this course, we will look at global issues in depth, with particular attention to historical context. We will also seek multiple perspectives as we wrestle with the intricacies of diplomacy and war; commerce and culture. Specific topics of study will proceed from what is happening in the world, and students will be required to explore a variety of different news sources as the basis for their writing. Written assignments will include 15-20 pages of formal work, including weekly journal entries and three short papers.

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 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.

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

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

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

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

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

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.

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

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

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

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

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

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

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

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