Not available at this time

This course introduces the role of political and sociocultural factors in appropriate, effective and ethical counseling, and in mental health more broadly. This is a theoretical, practical and experiential course that will focus on expanding awareness of your own values and biases; developing critical thinking and awareness of differing experiences and worldviews; and increasing your sensitivity to how sociocultural identities influence prospective clients and others.

This studio course is for artists and creatives interested in reimagining and recontextualizing their work frame by frame with animation. Students working in sculpture, painting, photography, performance, drawing, or other media will explore the possibilities for animating their work and learn a variety of techniques to integrate animation into their art practice. Multiple animation techniques will be introduced, with a focus on experimental and transdisciplinary methods and ideologies.

Stand-up comedy, satirical news, and memes: How do these and other humor-related cultural forms allow both right-wing groups and members of the many groups the right-wing targets (immigrants, racial/ethnic/religious minorities, queer people, women, etc.) to challenge the status quo? What is the power and are the limitations of these cultural forms? In this discussion-based and writing-intensive course, students will grapple with humor's many social and political functions, and in relation to white supremacy, rape culture, and other weighty issues.

The course is designed to further develop students' understanding of critical media studies, and to provide the structure and space to conceive of and successfully carry out a related (non-fiction) project.

This studio course focuses on experimental and non-traditional methods for creating 2D animation. Experimental animation may be non-narrative, abstract, or difficult to define. It may be created with techniques that reimagine or revolt against traditional animation practices, ideas, and narratives. In the course, we will cover a breadth of introductory and Intermediate 2D animation techniques, including analog hand drawn animation, digital hand drawn animation, digital puppetry, and compositing. We will also cover sound recording, mixing, and editing for animation.

An introduction to chemistry, including macroscopic properties of matter, composition and stoichiometry, atomic and molecular structure, bonding, and the behavior of gases. We will emphasize the understanding and prediction of chemical behavior, as well as the manifestation of chemistry in the world around us in biological, environmental, and practical contexts. Laboratory work will include quantitative, qualitative, and instrumental analysis. While there are no prerequisites for the course, comfort with basic algebra is strongly recommended.

The laboratory section of General Chemistry. Laboratory work will include quantitative, qualitative, and instrumental analysis. An introduction to chemistry, including macroscopic properties of matter, composition and stoichiometry, atomic and molecular structure, bonding, and the behavior of gases. We will emphasize the understanding and prediction of chemical behavior, as well as the manifestation of chemistry in the world around us in biological, environmental, and practical contexts. While there are no prerequisites for the course, comfort with basic algebra is strongly recommended.

Graphic design is a creative and critical practice at the intersection of communication and abstraction. The process of learning graphic design is two-fold, and students in this course will engage both areas. First, students will develop knowledge and fluency with design skills--in this case, software (Adobe Photoshop/Illustrator/InDesign); second students will address the challenges of design head-on through discussion, practice, iteration, critique and experimentation.

Increasingly, it would seem to be the preference of readers in our neo-narrative age-age of biography and memoir, age of the talk show, the podcast, and TTRPG actual play-an appetite for story. Or narrative. Which also applies to poetry. Though, the lyric poet might just as easily argue that every narrative poem obscures a lyric, which itself slows or suspends time. What occurs when a poem is more concerned with "how something felt" than "what happened"? What use is the lyric in poetry?