This is a continuation of Chemistry I: the principles and concepts examined during the previous term will be expanded and applied to more sophisticated systems. Topics will include chemical thermodynamics, nuclear chemistry, chemical equilibrium, acid-base equilibria and their applications, complex ion equilibria, and solubility, oxidation-reduction reactions, electrochemistry, and reaction rates. We will also emphasize application of those chemical principles to environmental, biological, industrial and day-to-day real-life situations. Problem sets will be assigned throughout the semester.

This course is designed to introduce students to complementary and alternative concepts in healing. Students will work in teams of 3-4 to investigate an area of interest in the health sciences. The groups will make extensive use of the primary scientific and medical literature in an effort to understand the use, effectiveness and limitations of the particular treatments or approaches selected. Each team member is responsible for some aspect of the research and reports back to the whole group. The groups will present their findings to the whole class.

In this workshop, participants will be encouraged to identify the questions and concerns that drive their creative work, consider approaches that may help to broaden the scope of their questions, and then center their writing around thematic elements that feel most urgent to explore. A willingness to take risks in one's work--a desire to make something new out of now--is crucial.

Samuel Beckett writes, in his short prose piece of the same title: "Ever tried. Ever failed. No matter. Try again. Fail again. Fail better." This will be a course about "try[ing] again," about "fail[ing] better". I have said, and fully believe, that getting a draft down on paper is merely drafting, is merely procuring the materials to write the poem. The real work of writing comes in revision. It is there we make our intent clear or sometimes even known in the first place, and that discovery can completely change a poem.

Light Art encourages us to slow down, wait, observe, absorb, perceive, and feel. Light art is immersive, it alters our mental and emotional state. Light art truly invites us into it, not in the figurative manner that all art can, but literally. You pass through it, and it devours you. Whether it's calming, agitating, or whimsical, light can provoke thought or initiate a chuckle. Within a studio format, the class will manipulate light and explore light as sculpture and environment. We will tell stories and design light-based games or puzzles. We will create acts of guerilla lighting.

This studio course introduces intermediate level sculpture and studio art concentrators to mold making and casting processes. Students will be exposed to a range of cast sculpture, both historic and contemporary, via books and slide lectures. Through assignments and independent work, students will explore the process of mold making and casting through a range of different materials including Plaster, Latex rubber, Urethane rubber, and thermoplastics. Students will research historical and contemporary artists who utilize casting and present relevant work for class discussion.

This studio arts course will explore a broad range of studio strategies, processes, and materials. Guided, student-led projects will be presented in student-driven critiques. Students will undertake research strategies particular to their interests and processes, and will be expected to reflect on this research in written responses. Slide lectures will introduce the class to contemporary and historical artists and art movements across cultural perspectives. From the dollhouse to the forest, soft sculpture to performative objects, this course embraces an expanded definition of the arts.

Based on the idea that the creative process is a cycle of rambling and synthesis, this course will value self-reflection as much as material output, encouraging an understanding of thinking and doing as equal partners in making art. Presentations on independent work and inspirations will invite a collaborative atmosphere. A non-medium specific course, less emphasis will be placed on specific techniques, and more on developing one's voice.

"One does not look through writing on to reality - as through a clean or dirty windowpane. Words are never transparent. They create their own space, the space of experience, not that of existence..." -John Berger. This class will be a combination of an excavation of experience and a deep-sea dive beyond.

Too often African Americans exist, as Ralph Ellison's narrator in Invisible Man remarks, as "phantom[s] in other people's minds," imagined as monsters, which also extends into American Literature. For centuries, stories and fantasies have been heaped upon Black bodies, and it shows no signs of slowing. But how does African American Literature see its protagonist, see the self, and has that self-image been colored by how it has been held in the imagination of others?