This is a composition course that will also survey the history, theory, and practice of electro-acoustic music. The course will introduce the musical, technical, and theoretical issues of electro-acoustic music, broadly construed to include the Classical avant-garde, Electronica, DJ culture, Re-mixes, Ambient, etc. Digital recording, editing, and mixing will be covered using the Audacity, Logic, or ProTools programs. Students will also work with sampling and looping techniques using Ableton Live. Other topics to be covered include basic acoustics and synthesis techniques.

The course is designed for advanced Division II and first-semester Division III students committed to reading and analyzing existing qualitative studies about audiences, gamers, and other media users, as well as to conceptualizing, carrying out, and documenting qualitative studies of their own.

This course serves as a thorough introduction to one of the most philosophically profound and historically influential of all Mahayana Buddhist ideas: emptiness. It begins with a review of the psychological models and meditative practices of early Buddhism, providing a foundation for understanding how the word "emptiness" was first understood. It then explores how the concept develops with a close study of the core Mahayana text on the topic, the Heart Sutra, and a thorough examination of the philosophical work of Nagarjuna (c. 150-250) and the Madhyamaka or Middle Way School.

Immanuel Kant revolutionized philosophy by arguing that human knowledge does not grasp the world as it really is, but only the world as it corresponds to the human mind. Kant's great successor, G.W.F. Hegel, pushed this idea further, attempting to show that absolute reality is essentially ideal, mental, or spiritual. Though profoundly influenced by Hegel, Karl Marx emphatically rejected Hegel's idealism, arguing that the history of the world is not the history of ideas but of class struggle.

What makes literature literary and hip hop music? What do these two have in common? We will examine the very meaning of African-American literature by reading and listening to contemporary writers. We will explore national experiences of race and African-American experience(s) of race, sexuality, gender, class, and privilege right now.

The aim of this course is to provide an introduction to the dramatic traditions and texts of classical Greek and classical Sanskrit theater. From the classical Athenian corpus, selected tragedies by Aeschylus, Sophocles, and Euripides, as well as comedies by Aristophanes and Menander, will be considered in depth. From the classical Indian tradition, we will read works by Bhasa, Kalidasa, and Shudraka. Special attention will be paid to the historical context of each play and to considerations of staging, ancient and modern.

In her seminal essay "Film Bodies: Gender, Genre, and Excess," Linda Williams observed, "The repetitive formulas and spectacles of film genres are often defined by their differences from the classical realist style of narrative cinema." In this course, we will use the relationship between gender and genre as a lens through which to view these differences in American and global cinema of the 1950s and 1960s as we trace the evolution of film theory since the 1970s.

This course emphasizes the structural character of the script writing process. The class will analyze different scripting techniques in traditional and experimental non-fiction film and video. With special attention to development and format, the course focuses on writing and it will introduce students to the ways in which writing and meaning are created in moving images through concepts such as mise-en-scene, dialogue, world of story narration and dialogue.

This interdisciplinary course critically engages a range of frameworks (geopolitical, historical, literary) for a study of the complex and contested reality of Cuba. We will critique and decenter the stereotypical images of Cuba that circulate in US popular and official culture, and we will examine the constructions of race, gender, and sexuality that have defined the Cuban nation. We will also explore how Cuba should be understood in relation to the U.S., to its diaspora in Miami, and elsewhere.

Students will create a body of work in a range of materials and media including drawing, painting, collage and installation seeking their very own artistic vision. You will endeavor to build a personal cosmology through a series of visual art inquiries aimed to examine and express the highly subjective and ever-shifting world of lived experience in this hands-on, work-intensive studio class. Artists including Charlotte Salomon, Trenton Doyle Hancock, Laylah Ali, Margaret Kilgallen, Frida Kahlo and others will guide us on the journey of creating our own personal cosmologies.