In the study of human-computer interaction, a natural user interface (NUI) is an interaction paradigm in which the interface is largely invisible to the end user. Contrasted with WIMP ("windows, icons, menus, pointer") interfaces found in traditional computing systems, NUIs rely on seamless, intuitive interaction rather than artificial control devices. While companies such as Apple and Google have rapidly popularized the NUI model, this interaction paradigm brings with it a unique set of design challenges, constraints, and ethical considerations.

The first semester of our core chemistry curriculum introduces the language(s) of chemistry and explores atoms, molecules and their reactions. Topics covered include electronic structures of atoms, structure shape and properties of molecules; reactions and stoichiometry. Enrollment limited to 16 per lab section. Multiple sections are offered at different times, as detailed in the Schedule of Classes. At the time of registration students must register for both a lecture and a lab section that fit their course schedule. Corequisite: CHM 111L

An introduction to visual experience through a study of the basic elements of photography as an expressive medium. Each section involves either black and white or a combination of darkroom and digital processes. Core studio materials are provided. Students are responsible for the purchase of additional supplies required for individual projects. Enrollment limited to 15. Prerequisite: ARS 162, 172 or permission of the instructor.

An introduction to visual experience through a study of the basic elements of drawing. Core studio materials are provided. Students are responsible for the purchase of additional supplies required for individual projects. Enrollment limited to 18.

How does conquest by foreigners change the ways that images, civic spaces and objects are created and used? How do different forms of colonialism shape the meaning of objects? What kinds of loss does colonization produce, what kinds of resilience? Focusing on recent scholarship, this seminar addresses these queries, highlighting the 16th–19th centuries.

Why have individuals and groups been moved to destroy art? How has art been construed as both essential, bewitching and dangerous? We consider representational imagery in ancient Greece and Rome, and in Judaic and Islamic traditions; the Byzantine iconoclastic controversy; 16th-century Northern European iconoclasm and the coincident wholesale destruction of indigenous American art; the Counter-Reformation validation of religious imagery; the French Revolution; and attacks on works of art in the modern world.

For more than a thousand years, ink has been maintained as the principal medium of painting and calligraphy in East Asia. This course surveys the continuities and ruptures of East Asian ink art seen through the formal, cultural and political factors. It also unravels the constant re-appropriation of the “archaic” medium. The course embraces art works in various media—paintings, calligraphy, books, woodblock prints, installation, performance and animation—that were created by premodern and modern artists.