This integrative seminar is designed for students who are working on a DIV III/Senior Project in the performing arts (music, theater, and dance). It is especially designed for those returning from a semester of field study. The first half of the semester will focus on weekly reading assignments of and short written responses to articles from disciplines such as performance studies, cultural theory, and ethnography and are intended to give students diverse theoretical frameworks from which to locate their Division III work.

Due to the growing availability of "big data" and the high computational speeds and storage capacity of modern computers, data science has become a highly influential field that impacts every aspect of our lives. Endeavors as disparate as facial recognition, climate modeling, and training computers to write poetry are linked by the fact that in each case researchers are using computers to find and exploit patterns in data. These patterns can be used to make predictions, test hypotheses, and to simulate real-world phenomena to an eerily accurate degree.

"Certain people start with a documentary and arrive at fiction...others start with fiction and arrive at the documentary."-Jean Luc Godard This is an introductory course for students who would like to explore their interest in documentary practice.

Humans are recent tenants on an ancient Earth. Understanding Earth's remarkable history is enlightening yet humbling. Earth's history provides a critical lens for evaluating the environmental processes occurring in our modern world. In this course, we will travel through time to study the evolution of Earth from its fiery beginning over 4.5 billion years ago to the present day. We will explore the physical and biological evolution of Earth and gain an appreciation for Earth as a series of complex systems that interact dynamically and holistically.

This interactive course offers students the guidance and resources to collaboratively produce a video by the conclusion of the semester. Students with an interest in narrative filmmaking, screenwriting, acting, directing, cinematography, producing, prop and set design, and other video production aspects are encouraged to participate.

Get ready to embark on an exhilarating journey through contemporary world cinemas from 2000 to the present! In this course, we'll delve into the narrative tradition of feature filmmaking, exploring a diverse range of cinematic styles, story traditions, authorship, genre conventions, and politics of representation from around the globe. You'll become immersed in the world of film as we closely analyze camera work, editing, art direction, narrative, and style, gaining a deep understanding of the power of visual storytelling.

What kinds of stories can we tell from archives? What stories do archives themselves tell? Cultural historians and cultural critics often rely on archives and special collections, which contain materials like letters, journals, manuscripts, organizational records, oral histories, photographs, periodicals, and ephemera. Creative writers, artists, and filmmakers can draw upon archives to shape their work as well.

This course will introduce students to the fundamentals of painting, such as composition, value, and color. Students will learn about material and the technical issues of painting. Drawings will often be produced in tandem with paintings in order to illuminate visual ideas. We will work with water based and oil based paint on various surfaces. Besides creating individual paintings, students will collectively prepare and work on large-scale canvases. This course will develop from individual representational set-ups towards collective, abstract work.

"The Repair" is preceded by the injury. Injuries on the landscape, the environment, on objects, architecture, on the body, on the psyche. In this studio art course students are going to develop multimedia art projects based on their engagement in questions concerning the human impact on land, objects, waters, architecture, plants, animals, and humans.

The Virgin Mary is not Catholic. When, in 431, the Council of Ephesus declared the Virgin Mary to be Theotokos or God-Bearer, she had already been venerated in Egypt since the third century as a re-instantiation of Isis. The syncretism of her cult explains her ubiquitous popularity in medieval Byzantium and the Latin West, but also early Islamic Syria, Ethiopia, and colonial Latin America. Her frequent depiction on moveable wooden panels (icons) and mosaics accompanied her early rise to liturgical prominence.