Course Search - Degree Programs | School of the Art Institute of Chicago

Roger Reeves

Title	Catalog	Instructor	Schedule
Introduction to Clay	1000 (001)	Javier Jasso	Mon/Wed 6:45 PM - 9:15 PM In Person
Description This course provides an introduction to clay as a material. Participants will be introduced to a wide variety of methods and techniques to build, decorate, and glaze ceramic. Demonstrations in Hand-building, coiling, slap-building and surface application including glaze development and application, slip decoration and firing methods, will give students a proficiency in working with clay and in the ceramic department. Introductions to the rich and complex history of ceramic through readings, lectures and museum visits, will provide students with exposures to the critical discourse of contemporary ceramic. This is primarily a beginner's course but open to all levels of students. Readings will vary but typically include, Hands in Clay by Charlotte Speight and John Toki. Vitamin C: Clay and Ceramic in Contemporary Art by Clare Lilley. Ten thousand years of pottery by Emmanuel Cooper. 20th Century Ceramics By Edmund de Waal. Live Form: Women, Ceramics, and Community by Jenni Sorkin. The course will look at artist like Magdalene Odundo, George E. Ohr, Shoji Hamada, Roberto Lugo and Nicole Cherubini as well as historic ceramic from the Art Institutes of Chicago?s collection. Students are expected to complete 3 projects by the end of the semester, Biweekly readings will be part of the course.	Class Number 1175	Credits 3	Department Ceramics Location 280 Building Rm M152
FYS I:Consider This	1001 (001)	Joanna Anos	Tues 12:15 PM - 3:00 PM In Person
Description Consider the ordinary and extraordinary, the word and world, this color, this art, this way of seeing and being. Writing topics are various in this writing course, but learning objectives are the same: for students to discover the complexity of their thinking through exploration and inquiry and to broaden their expressive and analytical skills. Readings will include writings by essayists, naturalists, and artists. Students maintain a writer¿s notebook, prepare short compositions, and write and revise several essays.	Class Number 1330	Credits 3	Department Liberal Arts Location Lakeview - 1427
World Cultures and Civilizations: Prehistory to the Nineteenth Century	1001 (001)	Mikolaj Czerwiński	Thurs 12:15 PM - 3:00 PM In Person
Description This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections. Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial. This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.	Class Number 1035	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Introduction to Photographic Image Making	1001 (001)	Cecil McDonald, Jr.	Mon 9:00 AM - 3:00 PM In Person
Description This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.	Class Number 1523	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
Introduction to Architecture/Interior Architecture	1001 (001)	Nathan Rennich	Mon/Wed 6:45 PM - 9:15 PM In Person
Description 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.	Class Number 1020	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1241
Reading Art	1001 (001)	Alexander W Jochaniewicz	Fri 8:30 AM - 11:15 AM In Person
Description 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.	Class Number 1014	Credits 3	Department Liberal Arts Location MacLean 816
Introduction to Visual Communication	1001 (001)	Martha Chiplis	Mon 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Corequisite: VISCOM 1002.	Class Number 1813	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1117
Introduction to Designed Objects	1001 (001)	Cassandra Scanlon	Mon 9:00 AM - 3:00 PM In Person
Description 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.	Class Number 1264	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1256
Ceramics: Wheel Throwing Fundamentals	1001 (001)	Cassandra Scanlon	Mon/Wed 6:45 PM - 9:15 PM In Person
Description 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.	Class Number 1178	Credits 3	Department Ceramics Location 280 Building Rm M153
FYS I: The Places You'll Go	1001 (002)	Peter Thomas	Wed 8:30 AM - 11:15 AM In Person
Description This writing course emphasizes close reading of texts, critical thinking, and the analysis of problems and concepts arising in works about travel experiences through the writing of essays. We will use the writing process as a means to achieving insight, and students will be asked to employ brainstorming, freewriting, drafting, outlining, re-writing, revising, and editing. Throughout the term, students will be asked to reflect on their development as they establish their own writing process that will enable them to develop new understandings and clearly communicate them in essays for this course and beyond. Writer Pico Iyer says, ¿We travel, initially, to lose ourselves; and we travel, next, to find ourselves.¿ New places are alluring. New places are disruptive. In this course, we¿ll read accounts of those who ventured to distant lands and discovered new territories within themselves. We will read the likes of Langston Hughes, Bernard Cooper, Jamaica Kincaid, Flannery O¿Connor, George Orwell, Susan Sontag, and others, as we see what these writers found when they lost themselves abroad. Students will join the well-traveled, too, as they write about a not-usual place, even if it¿s right here in Chicago. In addition to short writing assignments and in-class journals, students should expect to write and revise 4 essays totaling 15-20 pages of formal prose.	Class Number 1312	Credits 3	Department Liberal Arts Location MacLean 517
Introduction to Photographic Image Making	1001 (002)	Catherine Gass	Mon/Wed 6:45 PM - 9:15 PM In Person
Description This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.	Class Number 1524	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
Introduction to Architecture/Interior Architecture	1001 (002)	Adel Machacca	Thurs 9:00 AM - 3:00 PM In Person
Description 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.	Class Number 1029	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1407
World Cultures and Civilizations: Prehistory to the Nineteenth Century	1001 (002)	Artie Foster	Mon 8:30 AM - 11:15 AM In Person
Description This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections. Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial. This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.	Class Number 1036	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Introduction to Visual Communication	1001 (002)	Eliza Rosen	Wed 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Corequisite: VISCOM 1002.	Class Number 1815	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1114
Introduction to Designed Objects	1001 (002)	Sara Prado	Wed 9:00 AM - 3:00 PM In Person
Description 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.	Class Number 1265	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1231
FYS I: Copyrights and Wrongs	1001 (003)	Jennie Berner	Thurs 12:15 PM - 3:00 PM In Person
Description In this writing-intensive course, we will explore the line between originality and plagiarism in a variety of fields including art, media, technology, music, business, entertainment, and medicine. In what contexts is copying an art? A science? A crime? How much should we be allowed to borrow from the work of artists and writers who have come before us? Do we owe them anything when we do? What are the economic, social, and political implications of copying? Readings will cover a range of subtopics such as genetic cloning, music sampling, artistic forgery, cultural appropriation, film adaptations, drug patents, fan fiction, body modification, and fair use. We will also analyze the work of artists and writers whose work speaks to some of these issues, including Kenneth Goldsmith, Fred Wilson, Jeff Koons, Sherrie Levine, DJ Dangermouse, and Jen Bervin. Writing assignments ? totaling 15-20 pages over the course of the semester ? will emphasize analysis, argument, research, revision, and other academic writing skills.	Class Number 1348	Credits 3	Department Liberal Arts Location MacLean 501
Introduction to Photographic Image Making	1001 (003)	Rachel Herman	Tues 9:00 AM - 3:00 PM In Person
Description This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.	Class Number 1525	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
World Cultures and Civilizations: Prehistory to the Nineteenth Century	1001 (003)	Joana Konova	Thurs 3:30 PM - 6:15 PM In Person
Description This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections. Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial. This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.	Class Number 1037	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Introduction to Visual Communication	1001 (003)	John Bowers	Thurs 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Corequisite: VISCOM 1002.	Class Number 1846	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1114
FYS I: Rebel Verse	1001 (004)	Suman Chhabra	Mon 8:30 AM - 11:15 AM In Person
Description In our class we will read contemporary poetry from authors responding to historic and current political injustices. We¿ll also read about the political events themselves to gain an understanding of the authors¿ creative works. The poems and poetry collections are written by individuals but they shed light on the political impacts that affect the collective of humanity. Readings often include works by Layli Long Soldier, Ilya Kaminsky, Rajiv Mohabir, and Don Mee Choi. 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 into a historic or current political event. 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.	Class Number 1331	Credits 3	Department Liberal Arts Location MacLean 818
Introduction to Visual Communication	1001 (004)	John Bowers	Fri 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Corequisite: VISCOM 1002.	Class Number 1849	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1114
Introduction to Photographic Image Making	1001 (004)		Wed 9:00 AM - 3:00 PM In Person
Description This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.	Class Number 1526	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
World Cultures and Civilizations: Prehistory to the Nineteenth Century	1001 (004)	Arianna Ray	Tues 12:15 PM - 3:00 PM In Person
Description This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections. Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial. This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.	Class Number 1083	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Introduction to Photographic Image Making	1001 (005)	Lali Khalid	Thurs 9:00 AM - 3:00 PM In Person
Description This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.	Class Number 1536	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
FYS I: Writing for Space-Making	1001 (006)	Mika Yamamoto	Wed 6:45 PM - 9:30 PM In Person
Description Writers can have the power to create space for communities that are marginalized in society, but this work is never easy. In this class, we will examine the works of writers who have attempted this and analyze the success and cost of such attempts. Our readings will include works by: Esme Weijun Wang, Rupi Kahur, Ryka Aoki, Patsy Mink, 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.Towards this end, each class begins with mindfulness and connection activities. Students will be required to write weekly reflections, multiple drafts of an essay, 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.	Class Number 1350	Credits 3	Department Liberal Arts Location Lakeview - 1427
Introduction to Photographic Image Making	1001 (006)	Oliver Sann	Tues 3:30 PM - 9:15 PM In Person
Description This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.	Class Number 1545	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
FYSe: Laughing Matter	1002 (001)	Sophie Goalson	Mon 12:15 PM - 3:00 PM In Person
Description As an art form, humor is often considered menial and unrefined. In reality, 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, Franz Kafka, Calvin Trillin, Jade Chang, Percival Everett and others, we will get to the heart of what makes something funny, and how humor has changed over time. Students will build on foundational academics habits with weekly short writings. To complete the course, students must write 3 papers (one analytical, one argumentative, and one creative. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 1346	Credits 3	Department Liberal Arts Location MacLean 919
Illustration Technologies Lab	1002 (001)	Kimberly Karen Viviano	Wed 6:45 PM - 8:00 PM All Online
Description 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. Prerequisites Corequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1847	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design Location Online
Arch/Inarch: Design Drawing	1002 (001)	Douglas Pancoast	Tues 9:00 AM - 3:00 PM In Person
Description 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.	Class Number 1021	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication Location Sullivan Center 1407
FYSe:Near-Death Experiences	1002 (002)	Peter Thomas	Mon 8:30 AM - 11:15 AM In Person
Description This writing course emphasizes close reading of texts, critical thinking, and the analysis of problems and concepts arising in works about near-death experiences through the writing of essays. We will use the writing process as a means to achieving insight, and students will be asked to employ brainstorming, freewriting, drafting, outlining, re-writing, revising, and editing. Throughout the term, students will be asked to reflect on their development as they establish their own writing process that will enable them to develop new understandings and clearly communicate them in essays for this course and beyond. Some of us have had a near-death experience in which our survival felt in doubt. Almost all of us have had nearness-to-death experiences in which we glimpse the passing of some other person or creature and must contend with death?s significance. In this course, we?ll study short works that explore what nearness to mortality reveals to us. We?ll read Virginia Woolf, Tim O?Brien, Annie Dillard, Lu Hsun, Tobias Woolf, Wole Soyinka, and Nancy Mairs, among others, as we examine how death?s presence has impacted these writers in unanticipated ways. Students should expect to write and revise 3 major essays in addition to short writing assignments, totaling 15-20 pages of formal prose. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 1328	Credits 3	Department Liberal Arts Location Lakeview - 206
Illustration Technologies Lab	1002 (002)		Wed 8:15 PM - 9:30 PM All Online
Description 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. Prerequisites Corequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1816	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design Location Online
Arch/Inarch: Design Drawing	1002 (002)	Jaak Jurisson	Fri 9:00 AM - 3:00 PM In Person
Description 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.	Class Number 1022	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication Location Sullivan Center 1240
Issues in Modern and Contemporary Art	1002 (002)	Alice Maggie Hazard	Fri 8:30 AM - 11:15 AM In Person
Description This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art. Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.	Class Number 1039	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
FYSe: Film Noir and Genre	1002 (003)	Jacob A Hinkson	Tues 3:30 PM - 6:15 PM In Person
Description In this writing intensive course, we will develop the skills of argument-driven writing as we examine film noir and the question of genre. What does it mean to look at a series of disparate cinematic texts as examples of the same textual category? Is ¿film noir¿ best defined by a pattern of visual motifs? Can the genre be better characterized by the repetition of various story structures, themes, and character archetypes? Or is ¿film noir¿ (and perhaps ¿genre¿ itself) a categorizing term which has outlived its usefulness as a way of understanding individual film texts? Students will explore these questions through an examination of three key films: The Big Sleep (1946), The Reckless Moment (1949), Devil in a Blue Dress (1995), and The Deep End (2001). Readings will include critical works by Raymond Borde, Étienne Cahumeton, Janey Place, Megan Abbott, and Joan Copjec. These materials will inform multiple argument-driven essays 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 sources into evidence-based arguments. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 1347	Credits 3	Department Liberal Arts Location MacLean 818
Illustration Technologies Lab	1002 (003)	Richard Bresden	Thurs 3:30 PM - 4:45 PM In Person
Description 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. Prerequisites Corequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1841	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1108
Issues in Modern and Contemporary Art	1002 (003)	Risa Puleo	Mon 12:15 PM - 3:00 PM In Person
Description This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art. Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.	Class Number 1045	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
FYSe: American Poetry	1002 (004)	Alexander W Jochaniewicz	Thurs 8:30 AM - 11:15 AM In Person
Description This course will chronologically survey American poetry from its earliest periods to recent times. Students will be introduced to a wide spectrum of the finest poetry ever to be written, including (among others) poems from Phyllis Wheatley, Emily Dickinson, Robert Frost, Jean Toomer, Countee Cullen, e.e. cummings, Langston Hughes, Gwendolyn Brooks, Amit Majmudar, Terrance Hayes, Sherman Alexie, Garrett Hongo, and Natalie Diaz. Individual interpretations will be emphasized and slow-and-close reading will be emphasized, both in class and in formal writing assignments. In addition, students will be introduced to methods of literary study, appropriate terminology, and (art) historical contexts to help orient scholarship¿including how poets across time and space operate and innovate within literary conventions. Students will also write about poetry in both personal responses and formal analyses and will practice the process of writing, including prewriting, drafting, peer reviewing, and revising. FYSe 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. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 1329	Credits 3	Department Liberal Arts Location MacLean 816
Illustration Technologies Lab	1002 (004)	Richard Bresden	Thurs 5:00 PM - 6:15 PM In Person
Description 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. Prerequisites Corequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1850	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1108
Queer Spirits and Alternative Histories	1002 (004)	Chris Reeves	Wed 8:30 AM - 11:15 AM In Person
Description This is an advanced course that surveys developments in nineteenth and twentieth century art and architecture. It is intended for BAAH students and Scholars Program students. 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. ARTHI 1201: Discussion Section for Advanced Survey of Modern to Contemporary Art & Architecture is required.	Class Number 1050	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
FYSe: Dolls, Androids, and AI	1002 (005)	Jennie Berner	Wed 8:30 AM - 11:15 AM In Person
Description This writing-intensive course will explore representations of dolls, robots, androids, puppets, artificial intelligence, and other humanoid forms in literature and film. What can childhood characters like Pinocchio and Barbie teach us about becoming human? Why are there so many horror stories involving evil dolls? What do science fiction stories featuring robots and androids reveal about our increasingly automated, technological society? Should we embrace (or maybe even love) AI avatars, or resist them? Via close reading and critical inquiry, we will not only unpack the range of emotions ¿ from humor to sympathy to terror ¿ that humanoids evoke, but moreover connect these fictions to real issues in our own world. Stories and films may include Frankenstein, Blade Runner, The Stepford Wives, Her, and M3GAN. Writing assignments ¿ totaling 15-20 pages over the course of the semester ¿ will emphasize description, analysis, argument, revision, and other academic writing skills. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 2489	Credits 3	Department Liberal Arts Location MacLean 919
Issues in Modern and Contemporary Art	1002 (005)	Artie Foster	Fri 12:15 PM - 3:00 PM In Person
Description This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art. Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.	Class Number 1047	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Global Modernisms	1002 (006)	Mikolaj Czerwiński	Tues 3:30 PM - 6:15 PM In Person
Description This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art. Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.	Class Number 2114	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Issues in Modern and Contemporary Art	1002 (007)	Rhoda Rosen	Tues 8:30 AM - 11:15 AM In Person
Description This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art. Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.	Class Number 2254	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Issues in Modern and Contemporary Art	1002 (01S)	James Elkins	Tues 12:15 PM - 3:00 PM In Person
Description This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art. Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.	Class Number 1038	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
First Year Seminar Enhanced (EIS)	1003 (001)	Annette Elliot-Hogg	Tues 12:15 PM - 3:00 PM In Person
Description FYS (EIS) are theme-based writing courses designed for first-year international students who have successfully completed their English for International Students Fluency course, with an emphasis on teaching Academic English skills to English Language Learners. Students will improve their Academic English skills by learning to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in future course work at SAIC. FYS (EIS) sections offer different topics. For example, students may investigate modern and contemporary art movements or analyze popular visual culture or media. 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. Students investigate the class topic through close readings and class discussions. They explore and develop their ideas by writing short responses and longer multi-draft papers which may include analytical, argumentative, expository, and/or evaluative 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 and short homework exercises may be included. Through peer review and workshops, students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. Classes are capped at 12 students and individual meetings to discuss each student's papers should be expected. Prerequisites Must complete English Fluency I (EIS 1021)	Class Number 1353	Credits 3	Department Liberal Arts Location MacLean 818
First Year Seminar Enhanced (EIS)	1003 (002)	Diane Worobec-Serratos	Thurs 8:30 AM - 11:15 AM In Person
Description FYS (EIS) are theme-based writing courses designed for first-year international students who have successfully completed their English for International Students Fluency course, with an emphasis on teaching Academic English skills to English Language Learners. Students will improve their Academic English skills by learning to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in future course work at SAIC. FYS (EIS) sections offer different topics. For example, students may investigate modern and contemporary art movements or analyze popular visual culture or media. 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. Students investigate the class topic through close readings and class discussions. They explore and develop their ideas by writing short responses and longer multi-draft papers which may include analytical, argumentative, expository, and/or evaluative 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 and short homework exercises may be included. Through peer review and workshops, students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. Classes are capped at 12 students and individual meetings to discuss each student's papers should be expected. Prerequisites Must complete English Fluency I (EIS 1021)	Class Number 1354	Credits 3	Department Liberal Arts Location MacLean 818
First Year Seminar Enhanced (EIS)	1003 (003)	Annette Elliot-Hogg	Thurs 12:15 PM - 3:00 PM In Person
Description FYS (EIS) are theme-based writing courses designed for first-year international students who have successfully completed their English for International Students Fluency course, with an emphasis on teaching Academic English skills to English Language Learners. Students will improve their Academic English skills by learning to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in future course work at SAIC. FYS (EIS) sections offer different topics. For example, students may investigate modern and contemporary art movements or analyze popular visual culture or media. 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. Students investigate the class topic through close readings and class discussions. They explore and develop their ideas by writing short responses and longer multi-draft papers which may include analytical, argumentative, expository, and/or evaluative 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 and short homework exercises may be included. Through peer review and workshops, students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. Classes are capped at 12 students and individual meetings to discuss each student's papers should be expected. Prerequisites Must complete English Fluency I (EIS 1021)	Class Number 1355	Credits 3	Department Liberal Arts Location MacLean 112
First Year Seminar Enhanced (EIS)	1003 (004)	Maryjane Lao Villamor	Mon 12:15 PM - 3:00 PM In Person
Description FYS (EIS) are theme-based writing courses designed for first-year international students who have successfully completed their English for International Students Fluency course, with an emphasis on teaching Academic English skills to English Language Learners. Students will improve their Academic English skills by learning to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in future course work at SAIC. FYS (EIS) sections offer different topics. For example, students may investigate modern and contemporary art movements or analyze popular visual culture or media. 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. Students investigate the class topic through close readings and class discussions. They explore and develop their ideas by writing short responses and longer multi-draft papers which may include analytical, argumentative, expository, and/or evaluative 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 and short homework exercises may be included. Through peer review and workshops, students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. Classes are capped at 12 students and individual meetings to discuss each student's papers should be expected. Prerequisites Must complete English Fluency I (EIS 1021)	Class Number 1356	Credits 3	Department Liberal Arts Location MacLean 818
Design Communication	1004 (001)	Charles Pipal	Mon 9:00 AM - 3:00 PM In Person
Description 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.	Class Number 1015	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication, Digital Imaging Location Sullivan Center 1226
Potting for Pleasure and Protest	1005 (001)	Liz McCarthy	Thurs 3:30 PM - 9:15 PM In Person
Description This intro course will allow students to build upon and deconstruct our preconceived notions of what a 'pot' is. Can a pot be a subversive act of defiance? Can it express pleasure, grief or discomfort? We will explore what a pot can say and do beyond mere function. Investigating materiality, process, and conceptual frameworks the pot will serve as a form through which we?ll unpack issues ranging from the primordial to the celestial. Students will learn technical ceramic processes while examining the histories, practices, and conceptual potentialities of the vessel. We will look at artists who employ the vessel in their practice in a critical, subversive, personal and humorous ways. Some of the artists include Rubi Neri, Betty Woodman, Kathy Butterly, Theaster Gates, Sahar Khouri, Bari Ziperstein and more. Readings will include excerpts from ?Documents of Contemporary Art: CRAFT? and authors such as Glen Adamson, Edmund de Waal and Tanya Harrod. Students should expect to produce a body of work consisting of assigned and self directed projects to be presented in a culminating midterm and final critique.	Class Number 1179	Credits 3	Department Ceramics Area of Study Community & Social Engagement, Art/Design and Politics Location 280 Building Rm M153
FYS II: Americana Music	1005 (001)	Andrew Lindsay	Wed 12:15 PM - 3:00 PM In Person
Description ¿Genre¿ and tradition in music are nebulous terms, yet we can¿t escape them. Examining these genre distinctions consistently reveals two things - the history and tradition that helped birth the genre ¿category,¿ and the web of influences between genres that make such distinctions unstable. Nowhere is this ¿instability¿ more apparent than in American music, a country whose relatively young socio-political history makes the notion of ¿tradition¿ especially complicated. ¿Americana¿ is an overarching term to describe a variety of American musics, in an attempt to smooth over some of the complicated relationship between genre and tradition. One thing we will explore in this course is the effectiveness of that endeavor. Complicated spaces, of course, are fertile ground for argument, and that is the primary skill we will practice in this course. We begin with short writing assignments that force students to make arguments about our texts. Our class discussion allows us to workshop these claims, and we write larger papers that demonstrate the ability to take greater risks with our theses. In this course we will focus on the core skills of reading and writing, preparing us for all our future coursework at SAIC. Students learn to make nuanced observations about the texts we study, observations which form the basis for the argumentative papers we write. This course will focus on artists representative of the various genres said to populate Americana music. Special attention, however, will be paid to those artists who trouble the genre definitions, such as the Staple Singers, Gillian Welch, and Sturgill Simpson. Assignments consist of informal, observational journals, short papers and a larger Final Paper at the end of the course. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1315	Credits 3	Department Liberal Arts Location Lakeview - 205
FYS II:Romantic Fairy Tales	1005 (002)	Irina Ruvinsky	Tues 8:30 AM - 11:15 AM In Person
Description Please confirm/update desc: Unlike traditional folk fairy tales, intended primarily for children, the German Romantic Kunstmärchen (literary fairy tales) were written for an audience of adults. German Romantic philosophers, who believed in Nature as an ideal and the primacy of the individual creative imagination, saw the fairy tale as the perfect medium for the expression of these ideas. The timeless, mythical qualities of the fairy tale were seen by these thinkers as a way to bring the realm of the supernatural to earth, making the irrational and the magical part of our everyday existence. Unlike the traditional fairy tales, in which everyone lives happily ever after, the Märchen emphasizes the struggle between negative and positive forces in which death and disaster often prevail and man is caught in the tragic dichotomy between the real and the ideal. In this course we will explore these and other themes by reading the works by such authors as Novalis, L. Tieck, E.T.A Hoffman and Kafka. Students should expect to write 20-25 pages of formal, revisable writing, in addition to homework exercises and in-class writing. FYS II will build upon the foundational writing skills students began learning in FYS I, with the introduction of more rigorous argumentation and research. Eventually, writing will be more self-directed in this FYS II class. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1333	Credits 3	Department Liberal Arts Location Lakeview - 1427
FYS II:Life Account	1005 (003)	Suman Chhabra	Tues 12:15 PM - 3:00 PM In Person
Description In our creative practices we take our lives into account. You determine the format to share your story. In this course we will read different forms of autobiography: graphic novels, memoirs, essays, poetry, and journals. We will look at the various creative forms writers use to convey information about their lives, discuss why we make artwork about ourselves, and study how each form connects with readers. Though we will read about individual experiences, we will consider their impact on the collective. Readings often include works by Ocean Vuong, Trevor Noah, Diana Khoi Nguyen, EJ Koh, and Kazim Ali among others. In our FYS II course, 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 20-25 pages in multidraft essays. FYS II develops college-level writing skills, prepares one for upper-level Liberal Arts courses, and allows one to improve expressing their ideas in writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1334	Credits 3	Department Liberal Arts Location MacLean 501
FYS II: Cyber Feminism	1005 (004)	Terri Griffith	Thurs 12:15 PM - 3:00 PM In Person
Description Cyber Feminisms explores the intersections of feminism, technology, and digital culture through a research-driven lens. Students will critically engage with a range of topics, including the influence of digital spaces on gender identities, the consequences of algorithmic bias, and the ways marginalized communities use technology for resistance and self-expression. This course will analyze the role of the internet in shaping feminist discourse while developing digital literacies essential for academic writing in the 21st century. Students should expect to write 20 to 25 pages of formal, revisable writing (i.e. a semester-long research-based essay with multiple drafts) as well as homework exercises and in-class writing. Much in-class writing will be included, as emphasis is on development of the intellectual skills of reading and responding critically, which forms the basis of each student's career at SAIC. Furthermore, peer review of student papers, and individual meetings to discuss each student¿s writing should be expected. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1360	Credits 3	Department Liberal Arts Location MacLean 818
FYS II: Race and Horror	1005 (005)	Michael R. Paradiso-Michau	Tues 8:30 AM - 11:15 AM In Person
Description All FYS 2 students will learn to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in upper-level course work. Students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. This FYS 2 course will explore the interconnected meanings of race, horror, and monstrosity. In particular, we will focus on the presentations and representations of racial difference in the Americas. From Birth of a Nation (1915) to Get Out (2017), and from the transatlantic slave trade to contemporary #BlackLivesMatter movements, African-American struggles for dignity and inclusion have produced ¿philosophies born of struggle,¿ i.e. avenues of critical thought and activism with an eye toward social liberation and freedom from daily fear. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1335	Credits 3	Department Liberal Arts Location Lakeview - 206
FYS II: Speech and Voice	1005 (007)	Stephen Williams	Fri 3:30 PM - 6:15 PM In Person
Description How have artists in literature, theater, music, and other sound-based media represented or incorporated the human voice into their work? This FYS II course builds on the writing and thinking skills students began to develop in FYS I by introducing more advanced argumentation and research methods. To guide our inquiry, we might consider questions such as: How do we understand 'authentic' or 'common' speech, what accounts for its claim on our attention, and what are the politics around it? How does its apparent spontaneity relate to formal aspects of a work of art? Why do diverse folk traditions put human speech in the mouths of animals? How do we experience, on the one hand, divine or oracular voices understood to come from beyond humankind, and on the other, AI-generated simulacra? What does it mean to appropriate another's voice, and why is spoken language such a significant marker of individual and collective identity? How have new technologies of amplification, reproduction, and distribution changed how we hear ourselves? Sources we may consider include: Wordsworth, European opera, Brecht / Weill, Lotte Lenya, Cathy Berberian, Derek Walcott, Kamau Braithwaite, Linda Rosenkrantz, Meredith Monk, Bernadette Mayer, Pere Gimferrer, Nathaniel Mackey, American hip hop. Students can expect to produce 20-25 pages of formal, revisable writing, as well as regular in- and out-of-class assignments. The course builds toward a self-directed research paper on a topic of the student's choosing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1359	Credits 3	Department Liberal Arts Location MacLean 112
FYS II: Claire Denis	1005 (008)	Annette Elliot-Hogg	Wed 12:15 PM - 3:00 PM In Person
Description ¿One night many years ago, a French family was driving through the North Region of Cameroon when they ran out of gas. As they scrambled to refill the tank, the car was surrounded by a pride of lions. To protect their young daughter, the parents locked her in a metal trunk. The animals circled the vehicle continuously, and to distract herself from danger the girl repeated her own name.¿ Contemporary French director Claire Denis blurs the boundaries between dream and reality. In films such as Chocolat (1988), Beau Travail (1999) and White Material (2009), she constructs a tenuous world in the aftermath of European colonialism. In FYSII, we will expand our critical reading, writing and thinking skills. We will develop a vocabulary of forms¿camera movement, cutting and composition¿to understand the sensory experience of a work of art. We will write two critical essays (20 to 25 pages of formal writing), which will be workshopped in class and revised. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1336	Credits 3	Department Liberal Arts Location Sharp 409
FYS II: Past, Present, & Future Chicago	1005 (009)	Joshua Rios	Mon 8:30 AM - 11:15 AM In Person
Description ¿Past, Present, and Future Chicago¿ examines the complex and layered histories of Chicago through the cultural lenses of literature, art, music, public space, and architecture. It actively presents the city as a place where various social groups have migrated, lived in proximity, struggled for equality and resources, as well protested, celebrated, and produced art and culture. Some events this class engages include the establishment of the city through the Chicago Treaty of 1833, the Great Migration of the early 1900s, post-industrialization, the formation of historic neighborhoods (Pilsen, Lawndale, Chinatown), and the rise of House and electronic music. We will conduct periodic field trips throughout the city to enhance our readings, research, and experience-based understanding of Chicago¿s ever-present histories. Relevant artists, writers, and activists include Gwendoline Brooks (poet), Gordon Parks (photographer), Amanda Williams (architect/artist), and Frankie Knuckles (DJ), among others. FYS II builds upon the foundational writing skills students began learning in FYS I, with the introduction of more self-directed rigorous argumentation and research. Students should expect to write 20 to 25 pages of formal, revisable writing (one experiential essay and one research project, both with multiple drafts), as well as homework exercises and in-class writing. Furthermore, peer review, class workshopping of student papers, and individual meetings to discuss each student's writing should be expected. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1317	Credits 3	Department Liberal Arts Location MacLean 301
FYS II: Recreation & Play	1005 (010)	Raghav Rao	Fri 8:30 AM - 11:15 AM In Person
Description Discretionary time is time that is not constrained by the necessities of life. It is the domain of recreation and play. This class invites students to critically engage with modes of recreation: hobbies, games, outdoor activities, media consumption, creative pursuits, and vice. Through texts and discussion, students will inquire into how society produces and is produced by its modes of recreation, and how social relations are impacted through its dynamics. They will also bring greater attention to themselves and the values undergirding their personal modes of recreation. The focus of this class is to help students develop the skills required to perform academic research. Students will learn how to propose lines of inquiry, shortlist and interrogate sources, reference sources, and synthesize material. Ultimately, the final project for the class will be a high-quality research paper. Over the course of the semester, in total, students will be expected to produce 20-25 pages of material. Texts for the class include Diane Ackerman, Mihaly Csikszentmihalyi, Tricia Hersey, Priya Parker. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1337	Credits 3	Department Liberal Arts Location Lakeview - 206
FYS II: Art World in Crisis	1005 (011)	Joshua Rios	Thurs 8:30 AM - 11:15 AM In Person
Description This class examines recent social and political controversies surrounding the contemporary art world, including crises stemming from the power dynamics of gender, class, race, disability, sexual orientation, and other political commitments to international solidarity. Building on foundational writing skills learned in FYS I, students will gain historical and political context about specific moments in contemporary art when marginalized social groups and their allies have mounted protests and critiques of institutions, exhibitions, artists, and artworks. Informed by history, social theory, literature, art journalism, art history, visual studies, and other forms of study, students will become familiar with general and specific issues of institutional racism, sexism, ableism, classism, and xenophobia within the art world and how artists worked together for social change and institutional accountability. Students will engage in rigorous argumentation and the development of a self-directed research paper. Students can expect to write 20 to 25 pages of formal, revisable writing (i.e. one article and one research essay, both with multiple drafts), as well as homework exercises and in-class writing. Students can also expect in-class writing exercises with an emphasis on developing reading skills and critical analysis. Other important aspects of the course include peer review, writing workshops, draft reviews, and individual meetings to discuss writing topics and expectations. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1338	Credits 3	Department Liberal Arts Location MacLean 919
FYS II:Paris Noir	1005 (012)	Anita Welbon	Thurs 3:30 PM - 6:15 PM In Person
Description Tanner, Hughes, Baker. Prophet, Bearden, Chase-Rimboud. Wright, Baldwin, Himes. African-American visual, literary, and performing artists have journeyed to Paris for a few months, a year, or a lifetime to find what they could not in the United States, a space to fully explore, develop, and execute their artistic vision. This FYSII course examines the history of African American artists in Paris, exploring the cultural, political, and artistic forces that drew them to the city of light. Through short written responses and longer formal papers, students will continue to develop their writing skills as they consider this rich history. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1318	Credits 3	Department Liberal Arts Location MacLean 111
FYS II: Grief in Art	1005 (013)	James Sieck	Wed 6:45 PM - 9:30 PM In Person
Description Nearly three years into the Covid pandemic and we are still in the midst of a prolonged state of grief. As we consider the ways in which we have found - or struggled to find - help with our grief, the questions must be asked: What mechanisms were in place for communal grief? What mechanisms were in place for individual grief? Moreover, in times of tragedy and trauma, who or what can we turn towards to help us with this incredibly complex and human process? In this second semester course, each student will build off the academic writing and critical reading skills of FYS1 and work to construct a formal research essay that examines the role of art in grief. While our individual work will be specific and focused, our combined efforts will represent a broad exploration into the psychology of grief in the context of art. As a class community, we will examine the behavioral science behind grief, the various cultural practices and traditions around grief, and the ways in which both visual and written art are often our best tools for understanding grief. Sources may vary, but expect to read and analyze a diverse collection of authors and artists, including: Jhumpa Lahiri, James Joyce, Pema Chodron, Pauline Boss, Ada Limon, Roger Robinson, Carrie Mae Weems, and Chimamanda Adichie. Students will learn how to formulate a meaningful research question, vett and synthesize a variety of sources, and produce a polished academic research paper. We will utilize writing workshops, peer review, and process-oriented feedback to help us each produce 20-25 pages of formal and revisable writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1339	Credits 3	Department Liberal Arts Location MacLean 112
FYS II: Come to Your Senses	1005 (014)	Matilda Stubbs	Thurs 6:45 PM - 9:30 PM In Person
Description This writing intensive First Year Seminar introduces students to the anthropological study of the senses and how to communicate sensory experience through ethnographic writing. By close examination of ethnographic texts, films, podcasts, and other multimedia, students will explore how cultures 'make sense' of the everyday and increasingly globalized world. With emphasis on written assignments, we approach the notion of perception as more than a purely physical act, and through structured participation and deliberate observation, students will learn how sensory experiences are deeply related to our own histories and cultural identities. Course activities center around developing analytic skills in the genre of ethnographic writing, and critically engaging with cross-cultural examples of sensual mediations of reality. Topics range from how the senses shape the aesthetics of daily life through color, odor, and flavor, to the significance of communication and information of technologies in the era of virtual reality, slime videos, and the online autonomous sensory meridian response (ASMR) community. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1358	Credits 3	Department Liberal Arts Location MacLean 111
FYS II:Identity:Ind/Cult/Soc	1005 (015)	Christine M Malcom	Thurs 3:30 PM - 6:15 PM In Person
Description Identity is a contested social field where internal notions war with external labels. In this class, we examine identity from a four-field anthropological perspective We explore the social nature of the human species, examine how the performance of language unites individuals and distinguishes groups, and discuss the problematic notion of bounded cultures and their reification in classic and contemporary ethnography and in archaeological writings. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1319	Credits 3	Department Liberal Arts Location MacLean 620
FYS II:Evolution of Tragedy	1005 (016)	Peter Thomas	Tues 6:45 PM - 9:30 PM In Person
Description This writing course emphasizes close reading of texts, critical thinking, and the analysis of problems and concepts arising in tragic drama through research and the writing of essays. We will use the research and writing process as a means to achieving insights, and students will be asked to employ brainstorming, freewriting, drafting, outlining, re-writing, revising, and editing. Throughout the term, students will also be asked to reflect on their development as they work to establish their own research acumen and writing process that will enable them not only to achieve insights, but also to clearly communicate them in assignments for this course and beyond. What is the difference between bad news and tragedy? How can watching the story of a character come to great misery make an audience feel uplifted? We will consider notions of character, fate, tragic flaw, and nobility as they relate to the tragedy. What defines a tragedy? And who is allowed to be a tragic hero? In this course, we will explore the tragic form, from ancient Greek classics to Shakespearean dramas to more modern variations. We will study works by Sophocles, Shakespeare, Arthur Miller, Sophie Treadwell, Suzan-Lori Parks, and Anne Carson. In addition to short writing assignments, in-class journals, and quizzes, students should expect to write and revise 3 essays totaling 20-25 pages of formal prose. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1340	Credits 3	Department Liberal Arts Location Lakeview - 205
FYS II: Queer Pop Culture	1005 (017)	Terri Griffith	Thurs 8:30 AM - 11:15 AM In Person
Description The influence of the Queer voice in popular culture is undeniable, significantly shaping societal norms. Queer artists influence how gender and sexuality are perceived and represented even by those who do not identify as Queer. Using concepts from Queer Theory, this course will consider a variety of media¿including visual art, film, television, literature, and music. Student essays will investigate the role Queer voices play in contemporary culture. Assignments include critical reading of a variety of texts, essay writing with an emphasis on revision, and a concluding research paper and presentation. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1320	Credits 3	Department Liberal Arts Location Lakeview - 1427
FYS II: Visions of Apocalypse	1005 (018)	Jacob A Hinkson	Fri 3:30 PM - 6:15 PM In Person
Description Why are we fascinated with the end of the world? Throughout history, human beings have contemplated the apocalypse¿whether as a fulfillment of religious prophecy, as the result of atomic war, or as a consequence of climate change. This class will examine apocalyptic visions in art, film, literature, and music. In their research and writing, students can expect to explore the aspect of this subject that matters most to them and/or that inspires their curiosity. FYS II will build upon the foundational writing skills students began learning in FYS I, with the introduction of more rigorous argumentation and research. Eventually, writing will be more self-directed in this FYS II class. Students should expect to write 20 to 25 pages of formal, revisable writing (i.e. one conversation essay and one research project, both with multiple drafts) as well as homework exercises and in-class writing. Much in-class writing will be included, as emphasis is on development of the intellectual skills of reading and responding critically, which forms the basis of each student's career at SAIC. Furthermore, peer review, class workshopping of student papers, and individual meetings to discuss each student's writing should be expected. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1321	Credits 3	Department Liberal Arts Location Lakeview - 205
FYS II: Irish Rebels: 20th-21st century	1005 (019)	Eileen Favorite	Tues 8:30 AM - 11:15 AM In Person
Description FYS II is the follow-up course to FYS I, where students develop their writing skills to include research and argumentation. In this class we¿ll look at how the Irish fought to overthrow colonial rule in 1916-1922 and win the Irish War for Independence. We¿ll learn about the Old I.R.A. as well as the Cumann na Ban, the women¿s paramilitary that aided the guerilla fighters. In the second part of the course, we¿ll examine the partition of Ireland into Northern Ireland and the Irish Republic. With a deep dive into The Troubles, we¿ll interrogate the weapons of terrorism as well as the nonviolent resistance of hunger strikes. We¿ll examine all sides of the issues by reviewing poetry (Seamus Heaney and Eavan Boland), political commentary and research (Fintan O¿Toole and Patrick Radden Keefe), and contemporary short stories and creative nonfiction (Clare Keegan, Dioreen ni Grioffa). We¿ll also unpack how current politics, especially Brexit and demographic changes, threaten to destabilize Northern Ireland. Through in-class writing exercises, drafting of papers, and mindful writing workshops, students will develop their writing and researching skills, with the creation of 20-25 pages of academic writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1341	Credits 3	Department Liberal Arts Location MacLean 919
FYS II:Existentialism	1005 (020)	Irina Ruvinsky	Thurs 12:15 PM - 3:00 PM In Person
Description This course focuses on the philosophical and literary movement known as existentialism. We will approach the material through the existentialist conviction that the philosophical enterprise of addressing questions of meaning in human life is inseparable from the everyday living of that life. Questions that follow quickly on this and other existentialist commitments concern the possibility and value of human freedom: are we free? And is that a blessing or a curse? Can we live authentically, or are we necessarily self-deceived? Can we attain any substantial knowledge and understanding of who we are as individuals? If we can, to what extent do we reach this self-understanding through discovery and to what extent do we reach it creatively, by active effort to make ourselves who we are? What problems arise in having to live in a world with other free agents? And how does God, if there is any such thing, enter into answering these questions? The authors whose work on these themes we will consider include Friedrich Nietzsche, Soren Kierkegaard, Albert Camus, Fyodor Dostoevsky, and Jean-Paul Sartre. In the last section of the course, we will turn to a couple of these existentialist's American counterparts, Ralph Waldo Emerson and Henry David Thoreau. Our themes will not change, but we will find optimism where the traditional existentialists tend toward pessimism. Rather than worrying that life is despair, we find here a commitment to the idea that, in Thoreau's words, when done simply and wisely, 'to maintain one's self on this earth is not a hardship but a pastime.' Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1357	Credits 3	Department Liberal Arts Location Lakeview - 1428
FYS II: Curatorial Complexities	1005 (021)	Diane Worobec-Serratos	Wed 8:30 AM - 11:15 AM In Person
Description FYS II builds upon the foundational writing skills developed in FYS I, with the introduction of more rigorous argumentation and research. Students will hone their skills and work toward greater independence in writing tasks while critically examining the act of curation. From personal wardrobes and social media accounts to the sometimes-violent legacy of museum collections, curation is all around us. If curation means to care for items in a collection, what does that care entail? As a form of cultural production, whose needs are being cared for? Whose are being neglected? Which voices are amplified, and which are silenced? In a broader context, can curation be an emancipatory practice in the struggle for social justice? As artists, what is our responsibility in selecting, grouping, and caring for our work? To investigate these questions, in the first part of the course, students will explore a variety of curatorial geographies, looking critically at how commodification, patriarchal racism, and colonial capitalism have informed and disrupted curatorial practices over time. Later, students will apply the reflections and insights from course readings and activities to research a curatorial endeavor of their choosing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1342	Credits 3	Department Liberal Arts Location Lakeview - 1608
FYS II: Nuclear Problems & Society	1005 (022)	Aiko Kojima Hibino	Mon 8:30 AM - 11:15 AM In Person
Description When the first artificial self-sustaining nuclear chain reaction was created in 1942 in Chicago, human society was destined to tackle with an unsolvable conundrum. How could our society possibly justify the augmentation of this enormous power that could destroy our own existence? This course investigates discourses around two major uses of nuclear power in society ¿ nuclear weapons and nuclear energy ¿ and examines them through social justice lenses. Key points of inquiry include: what risks are associated with nuclear weapons and energy and how they have been evaluated in contrast to their benefits, how the damages that were caused by nuclear weapons and energy have been addressed and mended, and whether the harms that were made by nuclear weapons and energy equally impact all groups of people. Building on the basic reading and writing skills introduced in FYS I, FYS II will further students¿ academic skills in writing an independent research paper. Therefore, in this course, students are expected to read primary and secondary sources to collect evidence to develop their critical arguments on nuclear problems. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1322	Credits 3	Department Liberal Arts Location Lakeview - 1428
FYS II: The Interpretation of Dreams	1005 (023)	David B. Johnson	Thurs 3:30 PM - 6:15 PM In Person
Description First-Year Seminars can be thought of as writing studios: their purpose is to help you develop your academic writing skills by practicing writing, revision, and critique. Each FYS course is organized around a topic that orients students¿ writing practice; the topic of this course is the interpretation of dreams. Dreams have fascinated human beings for a long time. Whether understood as a source of inspiration, a cause for amusement, a glimpse into the soul, a pool of diagnostic information, or an everyday process of cognitive housekeeping, dreams have been regarded by some of history¿s most penetrating thinkers as essential to the project of making sense of ourselves and our place in the world. In this course we will investigate the writings of some eminent interpreters of dreams, and through the writing process we will develop our own interpretations in response to their ideas. Our readings will draw upon ancient and medieval philosophy (Aristotle, Zhuangzi, Augustine), early psychoanalysis (Freud, Jung), and contemporary dream science. In addition to short homework assignments, students will complete two major papers¿a Texts-in-Conversation Essay and a Research Paper¿which will go through multiple rounds of review and revision. Throughout the course, we will focus on strategies and techniques for effective writing, including idea-generation, composition, revision, and argument-construction. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1323	Credits 3	Department Liberal Arts Location MacLean 301
FYS II: Food and Culture	1005 (024)	Kate Lechler	Thurs 3:30 PM - 6:15 PM In Person
Description Food is one of life¿s great pleasures and the pursuit of flavor and nutrition has shaped the global map as we know it today. Every culture has food rituals around both its preparation and consumption, while the academic study of food intersects with almost every other topic of study, from economics and biology, to history and art. This course will focus on texts that span a variety of nations, languages, genres, and mediums, all of which explore the collective human experience of food. What do we eat¿and when and why? How did our most beloved foods come to be and how do they reach us today? In response to these questions, we¿ll read texts by famous food-writers such as Michael Pollan and Samir Nosrat, alongside horror and fantasy stories by Cassandra Khaw and Seanan McGuire. We¿ll examine medieval recipes alongside viral TikTok recipes; view Dutch and Flemish still lifes and Warhol paintings; and watch the Hulu show The Bear and Stanley Tucci¿s movie Big Night. In their research and writing students can expect to explore the topic of food that most inspires their curiosity, FYS II builds upon the foundational writing skills students began learning in FYS I, with the introduction of more rigorous argumentation and research. Eventually, writing and revision will be more self-directed in this FYS II class, which provides guided experience in writing college-level essays of various kinds. Students should expect to write 20-25 pages of formal, revisable writing as well as homework exercises and in-class writing. This writing will take the form of two essays and a final project, an in-depth revision based on instructor and peer workshop feedback. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1352	Credits 3	Department Liberal Arts Location MacLean 816
FYS II:The Critical and the Fine	1005 (026)	Herman Stark	Tues 3:30 PM - 6:15 PM In Person
Description This intense writing course fosters college-level writing skills at a level suitable for upper level Liberal Arts courses. Various types of essays will be executed (e.g., analysis, comparison and contrast) over a number of drafts. As for content, the course targets two aesthetic and philosophical phenomena: the critical and the fine. These phenomena can appear apart (e.g., critical thinking apart from the fine can lead to cynicism and even misology), but they can, in synthesis, produce both philosophy and art of the highest order. M. Gelven's text, The Quest for the Fine, and J. Lynch's The English Language, provide examples from philosophy, art, and language that illustrate paradigmatic syntheses of the critical and the fine. We'll consider, for example, the following distinction: The active voice lends crispness to your writing...but the passive voice works well when the action is more relevant than the person or thing doing the action. By reviewing such instances of grammatical and syntactical precision, across different topics, we will develop our internal sense of the fine. As for the critical, consider the following line by Emily Dickinson: 'Because I could not stop for death...he kindly stopped for me....' It takes the critical touch of a master poet to insert kindly; why, after all, kindly? Do not humans tend to flee death? Is not death a topic to be avoided? Do not many of us rather wish, sometimes idly and sometimes fervently, that we could live forever, or at least longer than we do? Or, has the poet revealed an ambiguity in how one might really feel, and think, about one's mortality? In this seminar, we will learn to make and appreciate such examples in writing, and indeed in writing that displays a heightened criticality and a heightened sense of the fine. Fine and critical writing is expected each week in weekly seminar reports, and over the entire semester in four essays, resulting in 20-25 pages of formal, revised writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1325	Credits 3	Department Liberal Arts Location Lakeview - 205
FYS II: (Still) Life-Writing	1005 (027)	Aaron Greenberg	Fri 3:30 PM - 6:15 PM In Person
Description What is the meaning of life? How does life translate to the page and canvas? In this course, we will practice the art of writing by representing its relations to life. FYS II develops college-level writing skills, preparing students for upper-level Liberal Arts courses. We¿ll focus on still lifes¿among the most enduring, versatile, and overlooked art forms¿which illuminate new perspectives on the lives of artists and the lives of objects we represent. Authors including Lisa Knopp and Norman Bryson will provide critical context for the course, while artists including Alice Neel, Georges Braque, Fernand Léger, Juan Sánchez Cotán, Jonas Wood, Henri Matisse, and Pablo Picasso will set the table with examples of the genre. However, students will develop writing projects around still life artists of their choice. We will experiment with ekphrasis, the detailed written description of visual art. We¿ll write about art that portrays the interplay of life, death, and (in)animacy, as we consider the history of ideas represented through still lifes including: the limits and possibilities of genre, vanitas, memento mori, and subject/object relations. Students will create 20-25 pages of formal, revisable, and (if they choose) publishable writing across three short essays and two in-depth revisions. Students will also learn to write a research paper, using scholarly constraints to enhance creativity. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1343	Credits 3	Department Liberal Arts Location MacLean 608
FYS II: How to Read a Poem	1005 (029)	Zachary Tavlin	Wed 12:15 PM - 3:00 PM In Person
Description FYS II builds upon the foundational writing skills students began learning in FYS I, with the introduction of more rigorous argumentation and research. This first-year seminar focuses our attention on poetry. While it's common for students to find poems baffling or even alienating, we will practice the kinds of reading skills and receptive states of mind that open poetry up to understanding and enjoyment. By reading, discussing, and writing about a small number of short poems every week-drawn from a variety of poets, periods, and places-we will see how reading poetry well does not require elite or occult knowledge but patience, interest, attention, and curiosity. Students will practice reading slowly and closely and writing about poetry in a way that reproduces that slowness and closeness in their own prose. Students should expect to write 20 to 25 pages of formal, revisable writing-including a research essay-in addition to homework exercises and in-class writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1344	Credits 3	Department Liberal Arts Location MacLean 919
FYS II: What is X?	1005 (030)	Kerry Balden	Thurs 8:30 AM - 11:15 AM In Person
Description In this course, we learn to inquire according to the most basic question available to us: to ask what something is. For this purpose, we'll read a handful of Platonic Dialogues, which are as comprehensive as they are artistic. Each dialogue asks a question about something fundamental to human life: What is love? What is art? What is friendship? What is power? What is god? What is courage? What is justice? Throughout the course, we'll write a couple of shorter assignments in preparation for a final paper. Building on FYS I, we now further learn how to write for specific readers. Far from merely demonstrating that you the author understand something, your writing will have to explain something to someone who doesn't understand, someone who may be resistant to understanding. In order to do so, we rely on regular, structured sessions of peer feedback, which involve specific, suggested revisions, rather than mere indications of like and dislike. And though we'll learn select principles of writing, such as those of argument, or of introductions, or of conclusions, the course utterly depends on your involvement: If we cannot be readers for one another, in all our idiosyncrasies and specific feedback, then we can't learn how to write for this or that discourse community. Students can expect to write at least two pages per week, culminating in a final research paper or project. Over the semester, students produce 20-25 pages of formal, revisable writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1327	Credits 3	Department Liberal Arts Location MacLean 501
FYS II: Philosophy and/of Love	1005 (031)	Guy Elgat	Wed 8:30 AM - 11:15 AM In Person
Description This class explores some of the basic questions and issues in the philosophy of love, from ancient Greece to the contemporary world. What is the nature of love? WHat is Platonic love? What does love demand of us? How is romantic love sensitive to the social context in which we find ourselves in contemporary, capitalist, society? Texts include Plato's Symposium, Badiou's In Praise of Love, and Illouz's Consuming the Romantic Utopia (excerpts). FYS II will build upon the foundational writing skills students began learning in FYS I, with the introduction of more rigorous argumentation and research. Eventually, writing will be more self-directed in this FYS II class. Students should expect to write 20 to 25 pages of formal, revisable writing (i.e. one conversation essay and one research project, both with multiple drafts) as well as homework exercises and in-class writing. Much in-class writing will be included, as emphasis is on development of the intellectual skills of reading and responding critically, which forms the basis of each student's career at SAIC. Furthermore, peer review, class workshopping of student papers, and individual meetings to discuss each student's writing should be expected. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 2248	Credits 3	Department Liberal Arts Location Lakeview - 206
FYS II: Human Subjects	1005 (06S)	Jennie Berner	Mon 12:15 PM - 3:00 PM In Person
Description When scientists conduct research involving human subjects, they are required to seek permission from Institutional Review Boards to ensure that their research is safe and ethical. Artists, however, have no such obligation. When working with human subjects ¿ whether they be muses, models, collaborators, participants, or viewers ¿ artists often must decide for themselves what is right or wrong. For example, should street photographers get consent from the people they photograph? Is it okay for performance artists to make their audiences physically or psychologically uncomfortable? Should some art come with a trigger warning? Is it appropriate for a painter or fashion designer to ask a model to endure pain or danger for the sake of art? What do artists owe their subjects (financially, emotionally, morally, etc.)? In this research and writing-intensive course, we¿ll explore these types of questions through artworks, installations, and performance pieces by artists including Sophie Calle, Clifford Owens, Paul McCarthy, Arne Svenson, Vanessa Beecroft, Santiago Sierra, Marina Abramovic, Song Ta, and others. Writing assignments ¿ totaling 20-25 pages over the course of the semester ¿ will emphasize summary, analysis, argument, research, revision, and other academic writing skills. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1316	Credits 3	Department Liberal Arts Location Lakeview - 1428
FYS II: Writing and Walking	1005 (25S)	Suzanne Scanlon	Mon 12:15 PM - 3:00 PM In Person
Description This course invites students to explore the relationship between walking and writing-two practices that open space for reflection, discovery, and transformation. Writers and artists have long turned to walking as a way of seeing differently, of mapping inner and outer landscapes, of lingering, wandering, or breaking free. In this first-year writing seminar, we will read and write with walking in mind, considering how movement through city streets, rural paths, and unfamiliar places shapes identity, knowledge, escape, and transcendence. Our texts will treat walking as both subject and structure. Authors and artists may include Virginia Woolf, Frank O¿Hara, Agnès Varda, Rebecca Solnit, Harryette Mullen, Garnette Cadogan, Sheila Heti, T Clutch Fleischmann, and Carmen Maria Machado. Together, we will ask how movement shapes thought, memory, perception, and creativity, and what it means for writing to carry the rhythm of a walk. Students will develop their own writing practices in dialogue with these works, producing essays that experiment with form as well as argument. Over the semester, they will complete 20¿25 pages of formal, revisable writing, culminating in a final research project that considers walking as a method for making meaning. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1324	Credits 3	Department Liberal Arts Location Lakeview - 202
FYS II: Honoring the 'I' in Exploration	1005 (28S)	James Sieck	Mon 6:45 PM - 9:30 PM In Person
Description Being a young adult is a continual act of becoming; an ongoing act of discovery. An essential part of this process is attempting to figure out your relationship with the world around you. Amidst a sea of internalized forces, you are fighting to develop your own voice; you are exploring your relationship with the people, places, and ideas you encounter everyday; and, you are searching for an understanding of yourself. What an amazing and complicated and difficult and impossible and beautiful time of life! So, it is necessary that you have the time, space, and tools to help develop this relationship with yourself and the world around you. In this second semester course, we will read and analyze some of the best creative nonfiction and long-form journalism writers in the world today. We will use these authors as models for our own exploratory writing about our own lives and interests. What are you curious about? What are you passionate about? What are you learning about yourself and your relationship with the world around you? In order to examine these essential questions, we will use both the Dear Universe¿ letter writing project and a series of inquiry-based essays to help explore our interests and practice the essential writerly moves that the best writers utilize. Sources may vary, but expect to read and analyze a diverse collection of authors, including: Jhumpa Lahiri, Jia Tolentino, David Foster Wallace, Amy Tan, Wesley Morris, Daniel Suarez, Ta-Nehisi Coates, Megan Garber, Chimamanda Adichie, John Green, Karen Russel, Nikole Hannah-Jones, and Tanner Laguatan.. Students will learn how to formulate meaningful research questions, vet and synthesize a variety of sources, and produce a polished academic research paper. We will utilize writing workshops, peer review, and process-oriented feedback to help us each produce 20-25 pages of formal and revisable writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1345	Credits 3	Department Liberal Arts Location MacLean 112
Introduction to Fashion, Body, and Garment	1010 (001)	Janet Kang	Fri 9:00 AM - 3:00 PM In Person
Description This is an introductory look into fashion. Students will explore basic design skills and processes, and work with various materials used in constructing garments. Both traditional and non-traditional materials will be explored through techniques and exercises related to the body. Students will learn how the tools and equipment for hand and machine sewing functions, and its role in constructing garments. A critical overview of fashion introduces students to various practical and theoretical approaches to understand and explore fashion within an art context.	Class Number 1361	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 702
Introduction to Fashion, Body, and Garment	1010 (002)	Kylee Marisa Alexander	Thurs 3:30 PM - 9:15 PM In Person
Description This is an introductory look into fashion. Students will explore basic design skills and processes, and work with various materials used in constructing garments. Both traditional and non-traditional materials will be explored through techniques and exercises related to the body. Students will learn how the tools and equipment for hand and machine sewing functions, and its role in constructing garments. A critical overview of fashion introduces students to various practical and theoretical approaches to understand and explore fashion within an art context.	Class Number 1362	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 702
Introduction to Fashion, Body, and Garment	1010 (003)	Isaac Couch	Sat 10:00 AM - 4:00 PM In Person
Description This is an introductory look into fashion. Students will explore basic design skills and processes, and work with various materials used in constructing garments. Both traditional and non-traditional materials will be explored through techniques and exercises related to the body. Students will learn how the tools and equipment for hand and machine sewing functions, and its role in constructing garments. A critical overview of fashion introduces students to various practical and theoretical approaches to understand and explore fashion within an art context.	Class Number 1382	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 702
Foundations Writing Workshop	1011 (001)		Fri 12:15 PM - 3:00 PM In Person
Description The Foundations Writing Workshop is a process-based writing course that serves as students' initiation to the foundations of academic writing in a school of art and design. Students engage in the writing process, learn strategies for exploring topics, and develop their knowledge of the concepts and terminology of art and design through the practice of various kinds of written compositions. Analysis of essays and active participation in writing-critiques are integral components of the Workshop.	Class Number 1013	Credits 3	Department Liberal Arts Location Sharp 409
Core Studio Practice II	1011 (001)	Kitty T Huffman, Alison Ruttan	Mon, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1229	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (001)	Kitty T Huffman, Alison Ruttan	Mon, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1229	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (002)	Troy Daniel Briggs, Assaf Evron	Mon, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1230	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (002)	Troy Daniel Briggs, Assaf Evron	Mon, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1230	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (003)	Sarah Jean Belknap, Joseph David Belknap	Mon, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1231	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (003)	Sarah Jean Belknap, Joseph David Belknap	Mon, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1231	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (004)	David Lozano, Mikey Peterson	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1232	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (004)	David Lozano, Mikey Peterson	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1232	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (005)	Rosalynn Gingerich, Maria Gaspar	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1233	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (005)	Rosalynn Gingerich, Maria Gaspar	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1233	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (006)	Christine Anne Shallenberg, Claire Fleming Staples	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1234	Credits 3	Department Contemporary Practices Location Sharp 314, Sharp 315
Core Studio Practice II	1011 (006)	Christine Anne Shallenberg, Claire Fleming Staples	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1234	Credits 3	Department Contemporary Practices Location Sharp 314, Sharp 315
Core Studio Practice II	1011 (007)	Anna Laure Kielman, Elena Ailes	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1235	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II	1011 (007)	Anna Laure Kielman, Elena Ailes	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1235	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II	1011 (008)	Pablo R Garcia, Xi Li	Wed, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1236	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216

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