What is a photograph in the world of the pixel? Why print images? Why make photographs? This course will explore the history, concept and craft of the photographic print, considering the materiality of photographs amid digital creation. You will study an array of image making techniques, investigate the shape images take from screen to sculpture and analyze the changing and often contentious definition of a photograph.

This class builds upon the work done in Tonal Theory I. We will continue the process of understanding and using basic chromatic harmony, in ways connected to both Jazz and Classical music continuums. Composition assignments will be included along the way as we assimilate new theoretical knowledge. We will look to enrich how we hear musical language, and how we understand musical syntax, where form and language intersect. The course involves weekly homework of an additive nature, periodic quizzes for diagnostic purposes, listening and concert assignments, and two final composition projects.

This advanced practice/theory course explores a poetics of word and image, a poetics of resistance, dream and revelation in film and text. Working with both visual and spoken text, we will consider a series of questions: How do words fall on an image? How do we choose a certain word, a certain phrase in relation to an image? Does the image function as an illustration of the words or does it expand upon the words in a different visual direction and if so, how is that operating?

Can we grasp the way the world really is, or are our concepts and ideas always mediated by conceptual schemes, linguistic categories, and social positioning? While the latter view has dominated philosophy and cultural theory for the past half century, the former view has become increasingly prominent.

"Through the disorderly fund which his knowledge places at his disposal, the allegorist rummages here and there for a particular piece, holds it next to some other piece, and tests to see if it fits together-that meaning with this image or this image with that meaning.

In the nineteenth century, the novel becomes the dominant literary form. In this class, we will look at forms of power within the novel, and also examine the power of the novel in society. In particular, we will explore various quests for identity and purpose in a changing society, and examine the ambitions and contrasting social possibilities for the male and female protagonists. We will also consider such questions as the roles of gambling and speculation in modern society, and the transgressive violence of erotic desire against the conventions of the bourgeoisie.

The aim of this course will be the comparative study of four ancient epics from India, Greece, Israel, and Italy. The core readings will comprise: the Ramayana, the Odyssey, the David Story, and the Aeneid. Each text will be considered both in its own historical and cultural context and in the larger shared context of bronze age epic, myth, and literature

This course will continue to develop skills in imagining and composing dances, now focusing on group forms, and the challenges to creating meaning, referential or abstract, in non-verbal, three-dimensional, motional and, most of all, embodied expression. In class we'll explore a variety of composition strategies used in group work, both classical and contemporary, and work with longer, more complex sequences. We'll play with such methods as layering, subtracting, juxtaposing, multiplicity, simultaneity, ambiguity, image, suggestion and statement.

Collective improvisation is a powerful creative methodology in music making. Its roots go deep in the history of African-American culture, and its practitioners in our time are abundant across countries and cultures. This course will celebrate its use in creating artistic, political, and spiritual community, while taking a rigorous approach to exploring its aesthetic possibilities. The IOC is open to all instrumentalists, including voice and electronics. We welcome students from diverse musical lineages and experiences.

The significance of artistic practice aims beyond the artist's capability to create an illusion of reality. Art is teaching us to reinterpret the world and develop utopias. This course offers students to explore abstraction and non-representational painting and will also investigate the indistinct border between painting and installation art. Students are encouraged -through readings, digital image lectures, and assignments- to develop an individual approach to the subject matter.