Body, Gender, Sexuality

This course provides an overview of historical, ideological, and economic influences of white supremacy, capitalism, and patriarchy on democracy, public life, and schooling. Teacher candidates critically investigate prevalent forms of multicultural education including conservative, plural, liberal, essential, and critical theories and practices.

This course provides an overview of historical, ideological, and economic influences of white supremacy, capitalism, and patriarchy on democracy, public life, and schooling. Teacher candidates critically investigate prevalent forms of multicultural education including conservative, plural, liberal, essential, and critical theories and practices.

This course focuses on wearables and 'soft' computing as a vehicle for subversion and artistic appropriation. Readings emphasize theoretical discourse on the relationships of the body, technology, fashion, social interactions and environment. Concepts are developed, designed and prototyped into working pieces by participants addressing personal expression and social dialog. Soft circuits (conductive paint, fabric, etc), new and recycled materials are explored in the development of expressive computational forms.

Have you ever heard that we use only 10% of our brains, or read that Mozart makes you smarter, and wondered if that was actually true? Ever wonder how scientists know that in the first place? This course will explore the form, function, and dysfunction of the brain. We examine the neuroscience of the senses, memory, emotion, creativity, and identity through the study and discussion of experiments, demonstrations, and medical case studies. Special emphasis is given to the epistemology of science.

An introduction to the psychology of sensation, perception, and attention. Perceptual processes of behavior, including attention, are studied in addition to the basic neurobiology of sensation. Traditional and current topics including color, space, and motion perception, attentional selection, sensory memory, perceptual organization (Gestalt groupings), pattern recognition, and the cognitive and social aspects of perception may be reviewed.

This course introduces the student to a wide spectrum of performance forms including performance in every day life, rituals, folk forms, artists' actions, experimental dance and theatre, activist performance, and intermedia forms. Students learn the history of performance practices, explore theoretical issues , and develop individual and collaborative works. Primarily a beginner's course but open to all levels of students.

How do you choreograph a sustained semester-length action? How do you create a movement score watching the night sky, or a gross anatomical body in a cadaver laboratory? This course develops actions, tasks and visual movement that ask how to perform attention/distraction/exhaustion/lightness/repetition/sequence/form/miniature and monumental dances. Art works include Marie Cool, Tehching Hsieh, Simon Whitehead, Writings of Andre Lepecki, Mike Pearson.

Students will explore how the body?s presence, movement and language was historically and is contemporarily used to frame, describe, subvert, and oppose normative expectations, legislation, and systems of power. Examining queerness and queer theory, students will explore how tactics of gender bending, shape shifting, flash mobbing, and protesting have been employed as performance acts in which the body becomes a subversive tool inciting dialogue. From Stonewall to Abu Ghraib, Judith Butler to Split Britches, students will learn the history of queered performance practices, and develop individual and collaborative works.

Every idea has a medium most suited to its execution, but often not the one in which the artist is working. This class considers new ways of translating ideas into other media to develop a sense of possibilities beyond the straight photograph. Conceptual art has given us an understanding of the triggers that might provoke an investigation of layers of meaning within the simplest of ideas. Assignments encourage students to think beyond the usual way they work and include the use of collaboration, installation, audio, video, live feed, the internet, performance, and performative uses of photography.

This course provides an overview of historical, ideological, and economic influences of white supremacy, capitalism, and patriarchy on democracy, public life, and schooling. Teacher candidates critically investigate prevalent forms of multicultural education including conservative, plural, liberal, essential, and critical theories and practices.

This course covers the science behind the biologic systems that allow us to gather information about the world around us collected through our five major senses (sight, sound, hearing, taste, smell, and touch). Each sense is examined individually. In addition, we discuss how our bodies constantly monitor internal data on biologic functions such as digestion, respiration, pain and position. We explore ways in which animals and plants sense the world differently than humans and what we can learn from them. Finally, this course considers how our brains serve as the final arbitrator in our integration of this data and how we bring meaning to it.

Beginning with a brief historical overview of the study of the physiology and visual illustration of the brain, the course will survey some recent developments in the fields of brain science, cognitive science, and artificial intelligence, and look briefly at the linguistic field of cognitive grammar. Lectures will be supplemented with graphic materials including historical and contemporary medical illustrations, visual and aural illusions of various types, and video tapes of animated EEGs and MRI scans. Topics addressed will include: the senses and perception; the unconscious; memory; dreams; mental representations and categories of thought; the structure of thought and the body; hemispherical specialization (left brain and right brain); emotion; and synthesis. This course can be taken for Liberal Arts elective credit.

Have you ever heard that we use only 10% of our brains, or read that Mozart makes you smarter, and wondered if that was actually true? Ever wonder how scientists know that in the first place? This course will explore the form, function, and dysfunction of the brain. We examine the neuroscience of the senses, memory, emotion, creativity, and identity through the study and discussion of experiments, demonstrations, and medical case studies. Special emphasis is given to the epistemology of science.

This course examines urban history in the United States from the late nineteenth century to the present. Using a variety of sources and cities, we will investigate major themes in urban history including industrialization and economic shifts, transportation, architecture, urban policy and reform, migration, suburbanization, deindustrialization, postindustrial urban culture, and the roles of race, gender, and class in shaping urban geography. This course utilizes both primary and secondary sources to illuminate and interrogate ideological, spatial, social, and political transformations in American cities and suburbs.

An introduction to the psychology of sensation, perception, and attention. Perceptual processes of behavior, including attention, are studied in addition to the basic neurobiology of sensation. Traditional and current topics including color, space, and motion perception, attentional selection, sensory memory, perceptual organization (Gestalt groupings), pattern recognition, and the cognitive and social aspects of perception may be reviewed.

An in-depth study of directions in psychological research beginning with Freud.

This course introduces the student to a wide spectrum of performance forms including performance in every day life, rituals, folk forms, artists' actions, experimental dance and theatre, activist performance, and intermedia forms. Students learn the history of performance practices, explore theoretical issues , and develop individual and collaborative works. Primarily a beginner's course but open to all levels of students.

This course introduces the student to a wide spectrum of performance forms including performance in every day life, rituals, folk forms, artists' actions, experimental dance and theatre, activist performance, and intermedia forms. Students learn the history of performance practices, explore theoretical issues , and develop individual and collaborative works. Primarily a beginner's course but open to all levels of students.

This course considers ways in which objects can be literally and symbolically animated by performance contexts, and how we lend objects agency when they act as repositories of our dreams and desires, and as symbols of power. At the same time we?ll look at the various ways in which bodies are objectified, 'onstage' and in the wider social sphere, from decoys and prosthetic limbs to exercise fads, religious practices and advertising. What are the implications of these kinds of objectification for violence, devotion and performance presence? We use durational, nomadic, collaborative, and ritual formats to investigate these questions, in conjunction with an exhibition of performances and performance installations in the Sullivan Galleries. Points of reference for the course is Marcel Mauss? theory of gift economies, Georges Bataille?s notion of ritual sacrifice and Steven Connor?s Cultural History of Ventriloquism.

This course explores how one can successfully collaborate and produce collectively. What does it take to create collaboratively? What does it take to establish a participatory production? How are these relationships initiated, formed, build upon? How does one create trust, a sense of authorship, or authenticity? How does one go about working together? How does one set intentions, define roles, look at potential? In this class we focus on performance and video based practices and look at different models and strategies for collaboration and participation. The goal is to develop throughout the semester works of a collaborative nature. This can mean you are working together with your fellow students on one piece or develop a community based project, or any type of project that has been co-created and finds its meaning exactly through that careful process of give and take, mutual interest and open engagement.

This course stresses innovative ways of creating art that incorporates figurative elements.The figure can be incorporated with a variety of methods and techniques, viewed in a less traditional and more open and conceptual sense. Emphasis is placed on ideas, presentation, and structure, as well as methods and materials. We consider the representation of the figure in ways that we can see with the eye or experience through other senses. A variety of experimental methods are used in creating the work.