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 course is for students with the solid knowledge of Western music fundamentals including the proficiency with staff notation. After a quick rigorous review of these basics, we delve deeper into functions of diatonic harmony, beginning with two-voice species counterpoint composition with basic melodic embellishments. The class then proceeds to four-part harmony and voicing techniques. In this section, we also explore relationship between cadences and forms; students compose a four-voice chorale using a binary form.

In the 1840's, shortly after the invention of photography, British, European and American photographers traveled to the Far and Near East, often on the heels of military aggression. In the process, they introduced photography to these regions, where local practitioners quickly took up the medium and used it for their own purposes. Yet history of photography texts do not adequately register the rich photographic traditions developed by photographers in Asia, and the current outpouring of photographic work from Asia countries demands a fuller historical context.

The moving image is a pervasive presence in current culture but its history is threatened by the instability of its material existence. Digitization alone does not solve the problem of the medium's impermanence but only adds further layers to the medium's ephemerality. This course will give students a practical, theoretical and historical understanding of audio/visual preservation especially around the film-to-digital transition. It will also provide some hands-on experience with film-to-film and digital preservation of moving images.

This is an advanced architectural studio class for DIV III and other students with a design background, both in terms of familiarity with architectural representation and principles of architectural design. Throughout this course students develop individual design projects they propose. Their work is assessed every week through desk reviews and pin-up critiques. A considerable amount of self-directed work outside of class hours is expected from students.

Freud remarked that his case histories read like short stories, and it was this intersection of genres that allowed him to arrive at an understanding of the suffering of his patients. The reading and writing of case histories, whether legal, medical, or psychological, give us access to the way narrative forms come to structure and determine our lives. The case history proceeds on two registers-a written text that also includes its own interpretation, its own reading-which gives it a special connection to the study of literature and literary interpretation.

According to Timothy Corrigan, the essayistic film "describes the many-layered activities of a personal point of view as a public experience". In this theory/practice class, we will explore the exciting and ever-impossible-to-define genre of the essay film. Alongside weekly readings and film screenings students will independently produce essay-style films. Some of the filmmakers works we may view include: Chris Marker, Agns Varda, Lynne Sachs, Errol Morris, Chantal Akerman, Michelle Citron, Trinh T. Minh-Ha, Harun Farocki.

The human form; nude, naked, clothed, full bodies, partial bodies, gendered and racial bodies, young and old bodies constitute a primary subject in contemporary artistic practice. In this class we will explore both the traditions of the photographic nude in art and its subversions in late 20th and 21st century photography. Students will be expected to develop a "body" of photographs related to the topic that can intersect anywhere with the body: straight portraiture, nudes, abstractions of bodies or virtual Web bodies.

Close readings of literature, law, cultural and historical texts, and societal behaviors that concern the racial oppression of black people and black people's resistance to oppression. What forms of racial oppression can be identified in literary, legal, cultural, and historical texts, and in societal practices? When is racial oppression visible or invisible? When are its signs and designs clear, and when and how are they hidden? What language is used to make racial oppression clear or camouflage it?

"Literature in the Age of Terror" undertakes a cultural study of terror that reaches from the French Revolution to the twenty-first century. The course argues that our specifically political use of the words "terror" and "terrorism" emerged alongside a late eighteenth-century fascination with anxiety, paranoia, and panic to form part of a broad historical phenomenon that literary scholars call Romanticism.