Additive Manufacturing (AM) course is designed to explore the latest developments and critical challenges of AM and provide students with in-depth knowledge of the AM processes and hands-on experiments with available 3D printing machines.

This course addresses how drawing, once a preparatory medium for painting, is now a major medium in its own right. However, drawing is resistant to modernist medium specificity and thus can be seen as an "anti-medium" whose contemporary definition is not based on internal properties, such as line or the use of paper, but rather its ability to connect disparate practices, such as hand-making and digital expression; genres, such as art and design; and communities, such as art and science audiences.

This course focuses on the planning, production, and analysis of educational videos. Students will engage in all video production processes with a special focus on online video editing production.

This course addresses issues regarding the use of video recordings in educational research and in classroom learning and teaching.

Explore how Social Network Analysis is used to examine connections between
educational stakeholders (i.e. teachers, parents, administrators, students, etc.) and
how these networks constrain and/or support diffusion of innovation, school improvement, and student learning.

This graduate seminar will introduce students to the history of manuscript illumination as well as printed illustration at the end of the Middle Ages, a period that experienced radical changes in the technology, function, and dissemination of the book.

Permaculture mimics ecological systems to design gardens, farms and homesteads which have the resilience and benefits of natural systems. Human designed systems however cannot function without social systems such as decision making, communications, organizational structure, and policy. This course will use case studies, guest speakers and in class exercises to explore how to apply permaculture ethics and principles to a variety of social systems. Students will engage with methods and strategies that build capacity and resilience while leading to long term systemic change.

In this course we will explore imitation, repetition, and appropriation in nineteenth-century art. The doctrine of imitation - the desire to imitate and surpass classical art - guided generations of European artists from the Renaissance until the end of the eighteenth century. Our seminar will focus on a radical transformation in definition of artistic originality that was at the heart of ambitious French art in the nineteenth century, one which produced complex blends of academic models of imitation with modernist forms of repetition (such as the notion of a series).

Impressionist painting has been traditionally defined as a literal transcription of the artist's visual perceptions: The Impressionists sought to give a totally objective transcription of the everyday world, and capture their immediate, momentary impressions with the greatest possible fidelity? (Hugh Honour and John Fleming, A World History of Art). Recent scholarship has demonstrated that this is not an accurate description.