This course will look at the phenomenon of globalization and contemporary art through the lens of border culture, a term that refers to the "deterritorialized" nature of an image when it is removed from its context or place of origin. Its themes include borders within the realms of language, gender, ideology, race, and genres of cultural production.

This class will look at the innovative approaches contemporary composers have taken in incorporating improvisation and notated composition. Seminal composers such as Charles Mingus and George Russell, Anthony Braxton and Julius Hemphill, will be looked at, as well as the work of younger artists exploring today. The focus will be on both the experimental and the vernacular in Afro-American music. The class will have a number of composition assignments, written for the instrumentation within the class, culminating in a final work and concert.

This course will provide an opportunity for Division II students in film/video, photography and related media that wish to pursue their own work, creating at least one completed new project for inclusion in the Division II portfolio. Each student will be required to present his/her work to the group several times during the semester. The members of the workshop will provide critical, technical and crew support for one another. Team projects are supported as long as each participant has a distinct and responsible role in the making of that work.

The Greek word Ou topos, means "no place". The English homophone eutopia, derived from the Greek means "good place". In this class we will explore what this no/good place is, how to find it, and most importantly how to envision it. We will read Jose Muoz's Cruising Utopia, as well as Jill Dolan's Utopia in Performance, among others. We will look at various films/videos that attempt to depict this place that is nowhere, that is good, that sings its siren song. Prerequisite: Film I or Video I (or related film/photo/video production course).

This advanced seminar will meet for three hours weekly to read, in conjunction with selected theoretical and historical material, the texts of eleven plays by Shakespeare. The final selection of plays will be made by the seminar but will include plays from all genres (history, comedy, tragedy, romance.) Questions to be explored include: issues of language, self and identity; the question of rule and authority; the representation of gender in the drama and the social ideology of the period; the staging of power and social position; the relation of actor and audience.

This course will engage the important compositional practices of the twentieth and twenty-first centuries. Students will compose music using post-tonal pitch systems, new scalar and chordal constructions, and expanded formal and textural possibilities. We will focus on the creation of new, non-traditional hierarchies within musical systems with regard to intervals, notions of consonance and dissonance, asymmetrical meters, non-metrical rhythm, and tuning.

This course will focus on a wide range of topics in sound synthesis and music composition using the MAX/MSP/JITTER program. Students will undertake projects in interactive MIDI composition, algorithmic composition, additive and subtractive synthesis, waveshaping, AM/FM synthesis, and sampling. Other topics to be covered include SYSEX programming, sound analysis, theories of timbre, and concepts of musical time. Prerequisite is HACU290 Computer Music 1 or equivalent course.

Film/Photography/Video Studies Seminar: This course is open to film, photography and video concentrators in Division III and others by consent of the instructor. The class will attempt to integrate the procedural and formal concentration requirements of the College with the creative work produced by each student. It will offer a forum for meaningful criticism, exchange, and exposure to each other. In addition, various specific kinds of group experience will be offered, including lectures and critiques by guest artists.

Music, dance, and theater may be viewed as performance arts, but they are also situated in social, economic, and cultural contexts. This course both explores social science frameworks for analyzing performance, and introduces students to qualitative research methods that address performance as embodied experience, as ritual, as a product of economic relations, as a site of symbolic meaning, and as a site of contested power relations. Students will conduct limited fieldwork and develop a research paper on a related topic of their choice.

W.E.B. DuBois was one of the Twentieth Century's most important intellectual and political figures. His writings, which span from the turn of the century until the Civil Rights era, are still some of the most quoted, referenced, and anthologized. This course will examine the public and private life of DuBois, through a critical evaluation of his contributions as an organizer, race theorist, cultural critic, political journalist, public intellectual, and family man. How did DuBois impact the study of global black experiences? How might he fit within a Black Radical Tradition?