This course will provide a comprehensive introduction to many of the research methods used in social psychological research. The main focus of this course will not only be to learn about research methods, but also when it is most appropriate to use one specific method or technique over another. These skills are essential to understanding research articles and performing your own research. Students will be expected to design, implement, and write up their own experiments.

This course will expose students to several mayor artificial intelligence (AI) techniques. For each of these techniques we will start by looking at basic definitions and theoretical considerations, followed by looking at open source software packages that implement the AI approach, and then how to use these software packages for decision-making step within larger applications. Techniques we will look at include: searching, decision trees, artificial neural networks, evolutionary computation, and programmable logic.

This course is study of the key fundamental problems in metaphysics. What is a thing? Is it the same as what it is made of? What is the difference between a thing a property? What kind of thing is a cause? Do necessity and possibility exist, like things, or what is their status in the world of being? Possible worlds. In what way do space and time exist? Persistence through time: does anything endure? Do space and time have a beginning and an end? What is the relationship between the mental and the physical? Freewill.

This course will explore the art of creating animated characters across a range of media. Our explorations will be driven by questions such as: What are the relationships between how we visually perceive motion in our physical surroundings and the illusion of motion expressed through image sequences? How can the mechanics of locomotion be constructed so that they appear to be driven by biological control? How can volition or emotion be expressed through movement?

This fundamental painting course will use the fundamental ideas of mediation - from painting from extant photographic images to paintings produced using systems and process. Students will gain experience in the fundamentals of painting, including composition, color, material choices and technical considerations such as preparing surfaces and mixing paint. We will explore a range of painting surfaces, sizes, and materials. Students will be expected to work a minimum of 6 hours a week outside of class time.

Moby-Dick, that hard-to-classify novel about Captain Ahab's mad search for the White Whale, took its own long voyage to arrive at a position in the canon of U.S. literature. Poorly received when it was published in 1851, Herman Melville's novel gained its canonical position only when it was revived in the 20th century.

Using a range of materials and artistic approaches we aim to develop a strong sense of familiarity and deepen our connection with drawing. We'll use graphite, color pencils, markers as well as some unconventional drawing materials to explore their unique expressive potential. You will be encouraged to carefully observe your surroundings and use personal experience as a departure point for drawing. Every student will keep a sketchbook or visual journal in which they will develop ideas and document their artistic process and experiments with materials. Prerequisite: Drawing 100 or equivalent.

Sketchbooks are places of safety and freedom, where artists can do whatever they please: explore unproven paths, go against the grain, experiment with unfamiliar techniques, document the world in deeply personal ways or just doodle without any pressure that out of this engagement a masterpiece will be born... and yet from working in sketchbooks regularly artists develop a discipline of engaging with the world and from the lack of pressure often new directions, new bodies of work are born.

While students work on their Division III portfolios and exhibitions, the class will come together around organizing collaborative and individual publications, both in print and online, surrounding students' capstone projects. Group critiques and curatorial problem-solving sessions will also occur. Students will be expected to work a minimum of 6 hours a week outside of class time. Prerequisites: First semester or second semester Division III artists.

Our work in this course will be more or less equally divided between reading plays and writing a one-act. The plays we read, which will include a wide variety of playwrights, will inform our exercise work even as they deepen and extend our sense of drama as a form. We will be paying particular attention to the way character is revealed through dialogue, ways to unfold exposition, segmentation of dramatic action, and how dialogue is shaped by character activity.