The Division II Projects class provides an opportunity for Division II students in film, photography, video, and related media who wish to pursue their own work to create at least one completed new project for inclusion in the Division II portfolio. Throughout the semester, each student is required to present his or her work in it's various stages of development to their small groups. The members of the class will provide critical, technical and production support for one another. Prior to joining the class, students must have some level of mastery over their medium.

In her 1924 essay "Mr. Bennett and Mrs. Brown," Virginia Woolf observed, "On or about December 1910, human character changed." Drawing inspiration from Woolf's famous phrase, this course focuses on modes of redescribing personhood in the work of James Joyce and Virginia Woolf, placing their writings in the larger context of British culture between the First and Second World Wars.

This course will foster the growth of independent voice and projects for Studio Arts concentrators in the late stages of Division II. As a preparation for sustained Division III work, students will cultivate methodologies and practices around consistently making, presenting, and honing work outside of the assignment paradigm. Select readings and discussions about what it means to be a studio artist in the 21st Century will complement regular group and partner critiques. Throughout the semester, students will develop work in whatever media, method, and approach they choose.

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 and ProTools programs. Students will also work with sampling techniques using Ableton Live and mixing skills with ProTools. Other topics to be covered include basic acoustics and synthesis techniques.

Countless scholars have discussed the ideologies communicated through media texts, but most persist in privileging their own analytical interpretations. In this course students will explore various theorizations of audiences, methodologies employed to study them, and results of how audiences interpret films, advertisements, television programs, and other cultural texts. We will also seek to better understand why people make radically different meanings of the same texts.

This production/theory class will introduce students to scripts and texts by independent filmmakers and installation artists who are questioning what it means to work across cultures and languages in a transnational context and to negotiate conflicts between notions of the local and the global, notions of national identity and the postnational. These filmmakers are working in hybrid combinations of essayistic, poetic, fictional and non-fictional forms.

Philosophers, cultural critics, and artists often invoke Friedrich Schiller's 1794 letters, On the Aesthetic Education of Man, in accounts of the relation between art and politics. Schiller's view of aesthetic life and its political powers turns out to be highly paradoxical. How do the tensions Schiller navigates reverberate in contemporary approaches to the relations between freedom and constraint, power and powerlessness, autonomy and the social, universality and difference?

This seminar will examine the history of US immigration from the founding of the American nation to the great waves of European, Asian, and Mexican immigration during the 19th and early 20th centuries, to the more recent flows from Southeast Asia, Latin America, and Africa. In addition to investigating how these groups were defined and treated in relation to each other by the media, we will consider the following questions: Who is an "American?" Has the definition shifted over time? How do contemporary political debates about immigration compare with those from previous eras?

This course will take sound and the sonic arts as both an object of inquiry and a provocation for thought. Reading texts by philosophers and cultural theorists, and examining work by composers, sound artists, writers, and filmmakers, we will investigate the ontology of sound and music, the nature of listening, technologies of audio recording and dissemination, time and space in the sonic arts, synaesthesia, and other issues. Each class will involve both discussions of theoretical texts and analysis of sonic art works.

This class will explore movement, dance, and other bodily forms of devotional practice in religious cultures. While texts, stories, music, architecture, and imagery might be more familiar artistic forms of religious expression, movement practices are always present as well: noticed or not, valued or not, in action or stillness, permission or prohibition, in formalized dances or ritualized movement, the moving body is present. Students will engage in three strands of study: movement analysis, movement research and practice, and study of historical and contemporary examples.