An introduction to the theory and practice of organic chemistry. The course focuses on structure, nomenclature, physical and chemical properties of organic compounds and infrared and nuclear magnetic resonance spectroscopy for structural analysis. Reactions of carbonyl compounds and alkenes are studied in depth. Prerequisite: CHM 111/111L, CHM 114/114L or CHM 118 (with required lab section). Corequisite: CHM 222L. Multiple sections are offered at different times, as detailed in the Schedule of Classes.

Same as CHM 108. An introduction to environmental chemistry, applying chemical concepts to topics such as acid rain, greenhouse gases, air quality, pesticides and waste treatment. Chemical concepts are developed as needed.

Same as ENV 108. An introduction to environmental chemistry, applying chemical concepts to topics such as acid rain, greenhouse gases, air quality, pesticides and waste treatment. Chemical concepts are developed as needed.

Topics course. Enrollment limit of 16: In this museum-based course, chemistry is discussed in the context of art. We focus on materials used by artists and how the chemistry of these materials influences their longevity. Current analytical methods as well as preservation and conservation practices are discussed along with examples from the Smith College Museum of Art. Course meetings take place in the museum and consist of three hours of lecture, discussion and demonstration. Enrollment limited to 16.

The drive to represent reality has animated media makers throughout history. In the service of this urgent, impossible ambition, documentarians have used myriad forms of media and produced some of each form’s most complex works. This course examines how they have done so, concentrating on different approaches to documentary (observational, ethnographic, essayistic, autobiographical), and considering work in photography, film, television, radio/podcasts, websites and virtual reality.

The drive to represent reality has animated media makers throughout history. In the service of this urgent, impossible ambition, documentarians have used myriad forms of media and produced some of each form’s most complex works. This course examines how they have done so, concentrating on different approaches to documentary (observational, ethnographic, essayistic, autobiographical), and considering work in photography, film, television, radio/podcasts, websites and virtual reality.

This course introduces students to FMS through units that pair four scholarly approaches with four influential media forms: the Aesthetics of Film, the History of Television, the Ideologies of Video Games, and the Technologies of Internet Media. Through these units, we will ask: what human desires animate our relationship with media? For what purposes have people invented and evolved these technologies? How do makers use them, and what are audiences seeking in them?

This course introduces students to FMS through units that pair four scholarly approaches with four influential media forms: the Aesthetics of Film, the History of Television, the Ideologies of Video Games, and the Technologies of Internet Media. Through these units, we will ask: what human desires animate our relationship with media? For what purposes have people invented and evolved these technologies? How do makers use them, and what are audiences seeking in them?

This course is designed to give FMS majors and minors a solid grounding in the primary methods of our field. In other words, what are the broad approaches scholars have taken to the study of media, and what specific methodological strategies have proved most effective? We begin with theory as one such method—one that zooms out to ask broad questions about the essential nature of a medium. Our history unit shifts the focus to how media are impacted by and implicated in the progression of time and culture. Finally, our criticism unit features strategies for analyzing individual media objects.

This course is designed to give FMS majors and minors a solid grounding in the primary methods of our field. In other words, what are the broad approaches scholars have taken to the study of media, and what specific methodological strategies have proved most effective? We begin with theory as one such method—one that zooms out to ask broad questions about the essential nature of a medium. Our history unit shifts the focus to how media are impacted by and implicated in the progression of time and culture. Finally, our criticism unit features strategies for analyzing individual media objects.