Global Arc

This class concentrates on the editing process. Students will re-edit samples from narrative and documentary films and analyze the results. We will also critique ongoing edits of your own thesis films. Guest speakers will come to talk about rough-and find-cut editing, sound design, and sound mixing. Editing is about shaping the story through image, dialogue, additional sound and music. No matter how well (or badly) a film is directed and shot, its final result depends profoundly on the artfulness of its editing. This course will give you a better understanding of how many ways there are to approach and solve the puzzle of editing a film.

A studio course in which formal problems are raised and explored through a range of materials. The central focus is on analysis and exploration of the nature of sculptural space. One four-hour studio class. Prerequisites: 221 or 222 and instructor's permission.

This seminar examines the radical possibilities of collaboration as fundamentally a process of radical composition through which collaborators bridge different modalities of creative expression - textual composition, artistic composition, speculative composition, among others - that span multiple media, forms and practices. By modeling and exploring collaboration as radical composition, this course seeks to reframe it as more that a dynamic of participation and coordination, and to recognize it as a generative methodology for producing critical scholarly and creative work.

A script is only the beginning. Then come the interesting decisions: the actors, the visual style, and the sound design. In this class, each student will be given one segment of a script which they can interpret in any way they choose. Will your part be done as a film noir? A musical? Will it be shot in black and white? Acted in the nude? Reimagined as a documentary? At the end of the term, all the segments will be strung together to make a complete film--a surprising collage of everyone

With roots in political art and community activism, publicly engaged art inserts itself into specific public contexts in a direct engagement with communities and its audience - often with the hope for social change. It endeavors to make social structures as art rather than objects. This class will investigate public art today through readings, case studies, and creating projects that engage the spaces on and around campus. What kinds of societal questions can art pose while still being art? In what ways can forms of collaboration and audience participation be part of artistic practice? Can art provoke social change?

We begin with a body and spend our lives representing, indexing, performing, expressing, camouflaging, revealing, adorning, contextualizing, and recontextualizing that body. This course will look at how artists have made work to intervene in this process. Alongside other aspects of visual culture, we will take protest as a key site of the political body that we will break down into voice, movement, text, and mass media. Studio work will explore strategies of representation through mixed media, drawing, painting, photography and performance. The course will include visiting artists and a museum or gallery visit.

The Haptic Lab is hands-on studio course in which haptic learning - both physical and virtual - will occur simultaneously. Four fast-paced, materially intensive assignments will be paired with equally intensive digital production. Students not only will engage in making artworks in both realms, but also engage in critical analysis of the dynamic relationship between the two. Materials may include ash wood, silicon rubber, soil, polystyrene, or a recipe for 2,000-year-old cement. Course work will be supported by visiting artists and scholars and accompanied by cognitive self-analysis in the form of weekly photo and journal documentation.