Books and Publishing

Writing in the twenty-first century is computational, writes literary critic N. Katherine Hayles. While this is true, she explains, of any work that uses digital software as its production environment before being output to print, it is particularly evident in works of electronic literature that are designed to be encountered on the computer screen. The practitioner of electronic writing is an author who combines human language and computer code to create new kinds of literary experience. Works of electronic literature can exceed the possibilities of print in their scale, dynamic variability, visual and temporal qualities, and attentiveness to the reader. The environment of the network (internet) also provides new opportunities for collaboration and sampling of found material. In this writing studio, we will survey varied forms of electronic literature including interactive hypertext / hypermedia, multi-user environments, codeworks, e-poetry, writing for virtual reality, and text-driven digital performance. Students will engage the potential of computational literature by creating original works using a variety of web-based programming languages taught in the weekly sessions. No previous programming experience is required.

This course introduces students to the basic elements of a screenplay, including format, terminology, exposition, characterization, dialogue, voice-over, adaptation, and variations on the three-act structure. Weekly meetings feature a brief lecture, screenings of scenes from films, extended discussion, and assorted readings of class assignments. This is primarily a writing class, with students required to write a four-to-five page weekly assignment related to the script topic of the week.

This course introduces students to the basic elements of a screenplay, including format, terminology, exposition, characterization, dialogue, voice-over, adaptation, and variations on the three-act structure. Weekly meetings feature a brief lecture, screenings of scenes from films, extended discussion, and assorted readings of class assignments. This is primarily a writing class, with students required to write a four-to-five page weekly assignment related to the script topic of the week.

An interdisciplinary studio that develops skills specific to the challenges of writing for time-based projects, especially works in film, video, installation, and performance. The primary focus is in-class writing, a range of textual experiments, and workshop /critique of students' writing in relation to their own works-in-progress. We pay attention to 'invisible' texts--the writing before the script, free-writing, conceptual issues--as well as overt ones. Special emphasis is placed on developing the ear in work on monologue, dialogue, and voice-over. The class reads and discusses selected scripts and writings by artists, screens films and videos, attends exhibitions and performances, and performs close analyses (another form of 'reading') of texts.

Students complete the first draft of a feature-length screenplay (at least 90 pages) based on an original idea that they propose and develop in the first or second class. No adaptations or partially-completed scripts are allowed. Weekly class sessions include group reading of script pages and critique by classmates and instructor.

This is a production class that will focus on idea development for time based media, through the use of storyboards, treatments, location photos, sketchbooks, and script readings. Students working in film, video, performance, and animation will learn classical and experimental ways to negotiate these thechniques as an integral part of the production of time based works. The final project for this class will be a loose-leaf volume containing treatment, storyboards and research scrapbook for a major work. This volume will be used for idea develpment and presentation of your project to collaborators, granting agencies, fellowship organizations and most importantly you, the maker.

Topics: Voice Lessons: Learning and Applying 'Practice' What are the artistic strategies, themes and sub-themes, production modes, and visual vocabulary that embody your artistic practice? How does your voice become singular in a crowded field of artists? Can your work transcend the fog of the derivative? Can you have a more aerial understanding of your work, seeing the past, present and future more capably? This class is designed for self-motivated students who are willing to put a large number of hours outside of class into the challenges of the curriculum. Each student will produce a 100+ page book during the course of the term that answers a large number of visual and textual assignments. These weekly assignments will provide a rapid framework within which to create new work whose form will, at times, not be about producing a final piece but consist of artistic gestures, visual and textual, amassed on the way. Assignments will point to students' interests, instincts, wit, politics, visual vocabulary, obsessions - the touchstones of their 'artistic voice.' The class will also set a rhythm of constant production that will embolden independent artistic practice and experimentation. By the end of the term, students will understand the difference between a project statement and artist statement, and be equipped to write, edit, and publish their artist statement within their book project.

Sequences and series are the ubiquitous ways we most often see photographic images. This class concentrates on producing and looking at how series of images are structured and the significance those structures hold. Assignments help develop students' use and understanding of sequential and serial imagery by engaging narrative and non-narrative strategies in simple sequences, books, zines, web-based projects, installations, videos, and projected presentations.

This is an intermediate/advanced level course for students seriously committed to producing sequentially developed ideas, and explores traditional and nontraditional book formats.

This is an intermediate/advanced level course for students seriously committed to producing sequentially developed ideas, and explores traditional and nontraditional book formats.

This course offers advanced exploration with visual and written material in paged sequence. Ideas are encouraged within a broad range of possibilities, via the format of the artist' book. The development of a major project is encouraged.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This intermediate level typography class begins by examining information theory in relation to the use of type and the organization of language in print. The course then progresses through a study of experimental typography in contemporary design movements.

This intermediate level typography class begins by examining information theory in relation to the use of type and the organization of language in print. The course then progresses through a study of experimental typography in contemporary design movements.

Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content within visual/verbal formats such as single sheets, traditional books, artist's books, and 3-D sculptural multiples. Instruction encourages an interdisciplinary approach with a thrust toward expanding the media's boundaries. Lectures and video documentaries provide a historical and cultural context for type design and the printing revolution. Field trips provide exposure to the expanding applicability of letterpress in contemporary design. This course may be repeated for credit, to allow intermediate and advanced undergraduate and graduate students the opportunity to broaden and refine their skills through technical and theoretical problem-solving that focuses on the creation of meaning through independent, self-structured projects.

Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content within visual/verbal formats such as single sheets, traditional books, artist's books, and 3-D sculptural multiples. Instruction encourages an interdisciplinary approach with a thrust toward expanding the media's boundaries. Lectures and video documentaries provide a historical and cultural context for type design and the printing revolution. Field trips provide exposure to the expanding applicability of letterpress in contemporary design. This course may be repeated for credit, to allow intermediate and advanced undergraduate and graduate students the opportunity to broaden and refine their skills through technical and theoretical problem-solving that focuses on the creation of meaning through independent, self-structured projects.

Extensive development of the visual impact of language. Through typography, students communicate metaphor, humor, contradiction, and the multidimensional aspects of language. Students explore the complex possibilities of visualizing the verbal language.

Extensive development of the visual impact of language. Through typography, students communicate metaphor, humor, contradiction, and the multidimensional aspects of language. Students explore the complex possibilities of visualizing the verbal language.

This is an intermediate/advanced level course for students seriously committed to producing sequentially developed ideas, and explores traditional and nontraditional book formats.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content within visual/verbal formats such as single sheets, traditional books, artist's books, and 3-D sculptural multiples. Instruction encourages an interdisciplinary approach with a thrust toward expanding the media's boundaries. Lectures and video documentaries provide a historical and cultural context for type design and the printing revolution. Field trips provide exposure to the expanding applicability of letterpress in contemporary design. This course may be repeated for credit, to allow intermediate and advanced undergraduate and graduate students the opportunity to broaden and refine their skills through technical and theoretical problem-solving that focuses on the creation of meaning through independent, self-structured projects.

Students examine the history of comic book art and writing from the early 20th century to the establishment of the Comics Code Authority in 1954. The course covers artistic antecedents of the 18th and 19th centuries, newspaper funnies, pulp magazines, the Golden Age (1938-49) and various genres: superheroes, crime, war, romance, horror and science fiction. Major names discussed: Jerry Siegel and Joe Shuster, Joe Simon and Jack Kirby, Will Eisner, Jack Cole, Harvey Kurtzman and Wally Wood.

This course introduces students to the basic elements of a screenplay, including format, terminology, exposition, characterization, dialogue, voice-over, adaptation, and variations on the three-act structure. Weekly meetings feature a brief lecture, screenings of scenes from films, extended discussion, and assorted readings of class assignments. This is primarily a writing class, with students required to write a four-to-five page weekly assignment related to the script topic of the week.

This course introduces students to the basic elements of a screenplay, including format, terminology, exposition, characterization, dialogue, voice-over, adaptation, and variations on the three-act structure. Weekly meetings feature a brief lecture, screenings of scenes from films, extended discussion, and assorted readings of class assignments. This is primarily a writing class, with students required to write a four-to-five page weekly assignment related to the script topic of the week.

An interdisciplinary studio that develops skills specific to the challenges of writing for time-based projects, especially works in film, video, installation, and performance. The primary focus is in-class writing, a range of textual experiments, and workshop /critique of students' writing in relation to their own works-in-progress. We pay attention to 'invisible' texts--the writing before the script, free-writing, conceptual issues--as well as overt ones. Special emphasis is placed on developing the ear in work on monologue, dialogue, and voice-over. The class reads and discusses selected scripts and writings by artists, screens films and videos, attends exhibitions and performances, and performs close analyses (another form of 'reading') of texts.

Students complete the first draft of a feature-length screenplay (at least 90 pages) based on an original idea that they propose and develop in the first or second class. No adaptations or partially-completed scripts are allowed. Weekly class sessions include group reading of script pages and critique by classmates and instructor.

This is a production class that will focus on idea development for time based media, through the use of storyboards, treatments, location photos, sketchbooks, and script readings. Students working in film, video, performance, and animation will learn classical and experimental ways to negotiate these thechniques as an integral part of the production of time based works. The final project for this class will be a loose-leaf volume containing treatment, storyboards and research scrapbook for a major work. This volume will be used for idea develpment and presentation of your project to collaborators, granting agencies, fellowship organizations and most importantly you, the maker.

Sequences and series are the ubiquitous ways we most often see photographic images. This class concentrates on producing and looking at how series of images are structured and the significance those structures hold. Assignments help develop students' use and understanding of sequential and serial imagery by engaging narrative and non-narrative strategies in simple sequences, books, zines, web-based projects, installations, videos, and projected presentations.

This is an intermediate/advanced level course for students seriously committed to producing sequentially developed ideas, and explores traditional and nontraditional book formats.

This is an intermediate/advanced level course for students seriously committed to producing sequentially developed ideas, and explores traditional and nontraditional book formats.

This course offers advanced exploration with visual and written material in paged sequence. Ideas are encouraged within a broad range of possibilities, via the format of the artist' book. The development of a major project is encouraged.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This intermediate level typography class begins by examining information theory in relation to the use of type and the organization of language in print. The course then progresses through a study of experimental typography in contemporary design movements.

This intermediate level typography class begins by examining information theory in relation to the use of type and the organization of language in print. The course then progresses through a study of experimental typography in contemporary design movements.

This intermediate level typography class begins by examining information theory in relation to the use of type and the organization of language in print. The course then progresses through a study of experimental typography in contemporary design movements.

Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content within visual/verbal formats such as single sheets, traditional books, artist's books, and 3-D sculptural multiples. Instruction encourages an interdisciplinary approach with a thrust toward expanding the media's boundaries. Lectures and video documentaries provide a historical and cultural context for type design and the printing revolution. Field trips provide exposure to the expanding applicability of letterpress in contemporary design. This course may be repeated for credit, to allow intermediate and advanced undergraduate and graduate students the opportunity to broaden and refine their skills through technical and theoretical problem-solving that focuses on the creation of meaning through independent, self-structured projects.

Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content within visual/verbal formats such as single sheets, traditional books, artist's books, and 3-D sculptural multiples. Instruction encourages an interdisciplinary approach with a thrust toward expanding the media's boundaries. Lectures and video documentaries provide a historical and cultural context for type design and the printing revolution. Field trips provide exposure to the expanding applicability of letterpress in contemporary design. This course may be repeated for credit, to allow intermediate and advanced undergraduate and graduate students the opportunity to broaden and refine their skills through technical and theoretical problem-solving that focuses on the creation of meaning through independent, self-structured projects.

Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content within visual/verbal formats such as single sheets, traditional books, artist's books, and 3-D sculptural multiples. Instruction encourages an interdisciplinary approach with a thrust toward expanding the media's boundaries. Lectures and video documentaries provide a historical and cultural context for type design and the printing revolution. Field trips provide exposure to the expanding applicability of letterpress in contemporary design. This course may be repeated for credit, to allow intermediate and advanced undergraduate and graduate students the opportunity to broaden and refine their skills through technical and theoretical problem-solving that focuses on the creation of meaning through independent, self-structured projects.

Extensive development of the visual impact of language. Through typography, students communicate metaphor, humor, contradiction, and the multidimensional aspects of language. Students explore the complex possibilities of visualizing the verbal language.

Extensive development of the visual impact of language. Through typography, students communicate metaphor, humor, contradiction, and the multidimensional aspects of language. Students explore the complex possibilities of visualizing the verbal language.

Gen Sem: Complex Narratives: Engineering Comics In this course we focus on refining ideas and methods for telling stories through comics by exploring the complex relationship and interactive development of sequential text and image. Students engage with visual representation, narrative, and language by studying and making comics. Required readings supplement the creative assignments, and may include the work of Eleanor Davis, Joseph Lambert, Los Bros Hernandez, Alan Moore, Jason Lutes, Lynda Barry, Joe Sacco, Jen Wang and many others. Class meetings include writing and drawing exercises, critical analysis of comics and their forms, discussions and workshops for weekly assignments and longer projects. This class is recommended for students who have experience in narrative, storytelling, writing and mark-making.

Many of the so-called authoritative lists of the great innovative prose writers are, more often than not, made up mostly of men, but in fact women have been at the forefront of literary innovation for quite some time. Women are responsible for much of the most provocative, energetic, stirring, hilarious, and intelligent experimental fiction of the 20th and 21st centuries. We will read a number of texts by authors which may include Gertrude Stein, Nathalie Sarraute, Yoko Ono, Lydia Davis, Julie Doucet, Renee Gladman, and more, and consider whether we see a pattern in how they address questions about tradition, identity, memory, time, sex, politics, narrative, and much more. Students will do one presentation each, and, inspired by the reading, we will do numerous prose exercises, which will turn into full pieces for workshop.