2013-14 Catalog

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2013-14 Undergraduate Index A-Z

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Aesthetics [clear]


Title   Offering Standing Credits Credits When F W S Su Description Preparatory Faculty Days Multiple Standings Start Quarters Open Quarters
Bob Haft
  Program FR–SRFreshmen - Senior 8 08 Day Su 14Summer Session I Summerwork is an intensive, hands-on program for students of all skill levels wishing to learn the basics of the 35mm camera (or larger format), darkroom techniques, aesthetics, and a short history of photography. Expect to shoot at least 20 rolls of film for full credit. A final project involves production of a book of photographs; each student will receive a copy at quarter’s end. Emphasis is placed on learning to see as an artist does, taking risks with one’s work, and being open to new ideas. Bob Haft Freshmen FR Sophomore SO Junior JR Senior SR Summer Summer
Robert Esposito
  Program FR–SRFreshmen - Senior 16 16 Day S 14Spring How can dance serve as a central metaphor for the holistic organization and transformation of personal life experience into aesthetic objects expressing the dynamic connectivity of self, world, and others? Using an expressive arts therapy model, movement study will be integrated with work in writing, drawing, and music in this multidimensional modern dance program exploring an integrative approach to choreography. It will involve disciplined physical and intellectual study, including weekly dance composition homework assignments.Studio activities will include progressive study in Nikolais/Louis dance technique, theory/improvisation, composition, and performance.  Readings, self-inventories, and seminars in the philosophy and psychology of the creative process, designed to broaden and enhance the student’s palette of creative choice, will explore factors such as self-image, linguistics, cultural and educational conditioning, and multiple learning styles. In solo and group collaboration, students will workshop formal craft elements of composition, such as shape, space, time, and motion. Workshops will use various media to draw and integrate content from students’ life experiences and/or past interdisciplinary study in order to create original multimedia work. Compositions will be shared in weekly performance forums that include faculty and student-centered critique and analysis.Texts will be used to explore the development of dance and movement therapy, draw distinctions between art and psychology, and explore the creative and therapeutic effects of the expressive arts. Seminar discussions will emphasize critical analysis in order to situate texts, art, film, and student work in historical and sociocultural contexts. Writing assignments will balance creative, analytical, and research styles, with a comparative overview of linguistic and communications theory. The program culminates with a Week 10 studio recital of selected student work. Robert Esposito Mon Tue Wed Thu Freshmen FR Sophomore SO Junior JR Senior SR Spring Spring
Marianne Bailey, Olivier Soustelle, Shaw Osha (Flores), Bob Haft, Judith Gabriele and Stacey Davis
  Program SO–SRSophomore - Senior 16 16 Day F 13 Fall W 14Winter S 14Spring ... ...—Hölderlin, "Bread and Wine" We will study art history, literature, philosophy and music in their social and historical contexts in order to understand the Romantic avant-garde thinkers and artists, outsiders in 19th- and early 20th-century Europe, and their tenuous but fruitful dialogue with mainstream culture and the emerging popular culture of the laboring class. We will emphasize French Romanticism, but will also consider the pan-European nature of the phenomenon. This era offers a figurative battlefield where concepts of art, nature and self, order and chaos, locked swords, testing the limits of rational thought. French language study will be an important component of our weekly work; students will study French at one of four levels, from beginning to advanced.The 19th century was an era of immense political change spanning revolutions, empires and finally the establishment of democracy at home, just as European imperialism spread across Africa and Asia. We will study ways in which average women and men crafted their own identities and responded to the larger social forces of industrialization, the creation of a new working class, the solidification of gender and class roles, the rise of modern cities and the redefinition of the criminal, the socially-acceptable and the outsider.In fall, our work will begin with the paintings, poems and ideas of the early Romantics. The Romantics privileged feeling, intuition and empathy. Like adepts in an ancient mystery cult, they sought to commune with Nature. Romantic philosophers, from Schopenhauer to Nietzsche, spoke of Becoming rather than Being. Rejecting Classical order, clarity and restraint, they envisioned a pure art, beyond language and depiction, which speaks musically through color, passion, suggestion, enigmatically, as do dreams.In winter, focus will turn to the late Romantics. Decadents pushed the Romantic temperament and aesthetic to extremes through self parody and the aesthetic of fragmentation. Symbolists attempted to express the inexpressible through their art. Yet Mallarmé, Wilde and Yeats, Moreau and Gauguin, among others, helped prepare the “rites of spring” of the dawning 20th century, the arising vanguard of modernist and postmodern movements.In spring quarter, students may pursue individual research/creative projects on campus or may travel to France for 10 weeks. There they will study in a Rennes, Brittany, language school, do cultural and historical study in Paris and Lyon, as well as make side trips for research of their own.In this program, students will gain a significant grasp of key ideas in art, history and thought within their context, and will have the opportunity to specialize, creating advanced work in their choice of history, art history or writing and literature. We expect strong interest and background in humanities, and considerable self-discipline and motivation. The workload, including French language study, will be substantial and rigorous. Students will work in interdisciplinary all-program sessions and assignments, as well as choose one of three possible seminar groups. These emphasize: 1) literature and philosophy, 2) history, and 3) photography and visual arts, practice and theory. Marianne Bailey Olivier Soustelle Shaw Osha (Flores) Bob Haft Judith Gabriele Stacey Davis Sophomore SO Junior JR Senior SR Fall Fall Winter
Arun Chandra
  Program FR–SRFreshmen - Senior 8 08 Day Su 14Summer Session I This course will focus on using the computer to create and manipulate digitally generated waveforms.  Students will learn how to use the "C" programming language to synthesize waveforms, while learning about their mathematics.  Students will create short compositions using FM, additive synthesis, and other synthesis techniques.  We will listen to contemporary and historical experiments in sound synthesis and composition, and students will be asked to write a short paper on synthesis algorithms.  Students will learn how to program in "C" under a Linux or OS X system.  The overall emphasis of this class will be in learning how to address the computer in a spirit of play and experiment, and find out what composition can become.  There will be weekly readings in aesthetics, and contemporary research in music composition. Arun Chandra Mon Tue Wed Thu Freshmen FR Sophomore SO Junior JR Senior SR Summer Summer
Shaw Osha (Flores)
  Course FR–SRFreshmen - Senior 4 04 Day Su 14Summer Session I This intensive drawing program runs for two weeks.  Open to all levels, this immersive drawing class will address the importance of drawing as a language integral to all visual art and as a way to understand one's experience in the world. Primarily, we will study the figure as a dynamic structure in space and mark making as a process of investigation. There will be some reading and writing as well as critiques. The Drawing Marathon will push artists to a new level of working. Shaw Osha (Flores) Mon Tue Wed Freshmen FR Sophomore SO Junior JR Senior SR Summer Summer
Leonard Schwartz
  Program FR–SRFreshmen - Senior 16 16 Day F 13 Fall W 14Winter In this two-quarter program we will read contemporary fiction, poetry, and essays as well as several theoretical texts that pertain to our central inquiries: What kind of knowledge do we encounter in fiction and poetry? What is the relation between the artifice of form and the experience of truth? In what way is the factual (that which we take to be given) also artefactual (that which has been made)? By what powers and strategies do poetry and fiction convey truths?Fall quarter will develop the coordinates of the inquiry via reading, writing, and visitors; winter extends the inquiry into our own writings. Required texts include poetry by modernists such as Ezra Pound, Wallace Stevens, and Gertrude Stein; and poetry and prose by Robert Duncan (from whom we take our course title) much of which was written in response to the generation of modernists who preceded him. The required texts are extremely diverse formally, but share overlapping preoccupations with memory and amnesia; metaphysics and transformation; realism and perception; and ethics and poetics.Fall quarter will be reading-intensive and comprised of seminars on the required texts; a range of writing exercises aimed towards generating material; and opportunities to hear and dialogue with visiting writers. In this quarter students will learn literary critical vocabulary and close reading skills. Winter quarter will involve an extended writing project and intensive writing workshops in small groups in which we will utilize the skills learned in the first quarter towards critiquing and revising student writing. Leonard Schwartz Freshmen FR Sophomore SO Junior JR Senior SR Fall Fall Winter
Cheri Lucas-Jennings
Signature Required: Fall 
  Contract SO–SRSophomore - Senior 16 16 Day and Evening F 13 Fall Individual studies offers important opportunities for advanced students to create their own course of study and research. Prior to the beginning of the quarter, interested individuals or small groups of students must consult with the faculty sponsor to develop an outline of proposed projects to be described in an Individual Learning Contract. If students wish to gain internship experience they must secure the agreement and signature of a field supervisor prior to the initiation of the internship contract.This faculty welcomes internships and contracts in the areas of the arts (including acrylic and oil painting, sculpture, or textiles); water policy and hydrolic systems; environmental health; health policy; public law; cultural studies; ethnic studies; permaculture, economics of agriculture; toxins and brownfields; community planning, intranational relations.This opportunity is open to those who wish to continue with applied projects that seek to create social change in our community; artists engaged in creative projects and those begining internship work at the State capitol who seek to expand their experience to public agencies and non-profit institutions; and to those interested in the study of low income populations and legal aid.  Cheri Lucas-Jennings Sophomore SO Junior JR Senior SR Fall Fall
Kathleen Eamon
  Program FR–SRFreshmen - Senior 8 08 Day Su 14Summer Session I We will begin with a short, intensive study of Marx's early work and selections from , vol. 1 and track the themes raised there in a number of political-theoretical, literary-critical, and philosophical schools of thought, as well as reading a number of literary works that instantiate, provide materials for, or challenge these approaches.  Our theoretical texts may be from Lukács, Bloch, Benjamin, Adorno, Althusser, Raymond Williams, Žižek, and Jameson, and our literary texts might include Flaubert, Melville, Poe, Sebald, and Kluge. Kathleen Eamon Mon Wed Thu Freshmen FR Sophomore SO Junior JR Senior SR Summer Summer
Kathleen Eamon and Trevor Speller
  Program JR–SRJunior - Senior 16 16 Day F 13 Fall W 14Winter .—Theodor Adorno, How and why do we think about “modernity”? What do we mean when we say we are thinking about it? This program will largely be an investigation of modernity as it appears in and behind those discourses produced by and about its forces. These are questions that will lead us primarily into the realms of philosophy, political theory and political economy, sociology and literature.Along the way, we will try on a number of definitions of and arguments about what constitutes modernity, both in the sense of its causes and effects as well as its historical extension. Here are some of the questions we might ask:This program is designed for upper-division students interested in developing and refining their ability to work with complex historical texts and important ideas. An important part of our work will be to help one another develop the skills needed through seminar conversations, close reading sessions, writing workshops and individual and group projects and presentations. We will offer a 14-credit option to students of foreign language. Kathleen Eamon Trevor Speller Junior JR Senior SR Fall Fall Winter
Arun Chandra
  Program FR–SOFreshmen - Sophomore 16 16 Day F 13 Fall W 14Winter S 14Spring How shall we study music? We can watch others doing it on YouTube, we can hear others doing it on YouPod or we can read about others doing it on YouKindle.Let's DO it! (Sadly, there's no "YouDo".)Let's study music by creating and performing it. After all, music's a thing made by the brain, the heart and the fingers.You'll be asked to sing, study an instrument and perform for others in the class, write vocal and instrumental arrangements and sing and perform them. The class environment will not be a competitive one: the goal is to stretch out and learn and challenge oneself and not compare one someone with another one someone. The study of music requires a commitment to practice, to listen, to remember and to learn. This program aims to offer you time in which to do just that.You'll learn about writing harmonies, singing them, and about how difficult it is to write vocal parts that are interesting both melodically and harmonically. There will be a strong emphasis on ear training, sight singing and aural dictation, along with studies in tonal harmony. You'll be asked to write and perform musical canons. We'll study the history of Western classical music, jazz music from the early 20th century, popular music of the past 50 years and experiments in music composition as well. There will be regular listening sessions, along with readings from the arts.In class, students will be assigned performance groups, and each group will be asked to prepare a vocal or instrumental work. This will happen twice each quarter. Rehearsal time will be set aside for such practice, and the faculty will act as a coach for the rehearsals. Each quarter, students will be asked to write one substantial research paper exploring an aspect of music they are unfamiliar with. There will be class trips to concerts in Seattle and Portland, along with visiting guest artists throughout the year. During spring quarter, students will be working on independent projects under faculty supervision. These projects will be developed and submitted by the end of winter quarter. They should combine research and study with creativity and performance, culminating in an end-of-spring-quarter mini-conference, with students delivering both research presentations and musical performances.In addition to classroom activities, each student will be expected to take instruction in a musical instrument outside of class and bear the cost of that instruction (the faculty member can help you find a teacher for your instrument). Practicing an instrument is a way to bring together the seemingly separate activities of the brain, the heart and the fingers: it concretizes music theory, gives a goal to the wobbling fingers and releases the heart from its regularity of "thump thump thump". Arun Chandra Freshmen FR Sophomore SO Fall Fall Winter
Steven Hendricks and Jean Mandeberg
  Program FR–SOFreshmen - Sophomore 16 16 Day F 13 Fall W 14Winter What makes a work of art capable of narrative expressiveness? What constitutes a narrative? How do artists invest tangible records, stories, artifacts and objects with meaning, and how do readers work to recuperate or transform those meanings for themselves?Many artists and writers have used objects, visual forms, books and text in combination to create a hybrid language that can carry narrative possibilities. How do such works exploit the possibilities of conventional and nonconventional narrative to stimulate the intellect and the imagination? Does imposing a narrative on a work of visual or sculptural art limit it, reduce it to a single interpretation? How can we navigate the space between object and idea as artists, as readers, as makers of things and makers of meaning?This program will explore such questions through intensive studio work in fine metals and book arts. Equally important will be our study of literature that tests the boundary between narrative and non-narrative and the practice of critical and creative writing. The general program structure will include alternating periods of focused writing, imaginative reading, seminar discussion and extended, deliberate work in the studio.Student projects will be direct responses to the themes and questions of the program: explorations of the nature of narrative, the various ways in which objects can participate in, contain, and create narratives. This unique opportunity to combine book arts and fine metals will persistently require competence in technical skills, unusual patience, attention to detail and materials, and articulate translations between ideas and visual forms.The second quarter of the program will in part evolve from the discoveries of the first and will involve deepening our work in both studios, with the necessary emphasis on thoughtful self-critique and aesthetic rigor. This program will be important and challenging for students in the arts and humanities who think of artists as aesthetic and conceptual problem solvers, seeking new puzzles, forms and possibilities for constructing meaning using words, the book and small-scale sculptural forms. As a first-year program, this program provides specific support for students at the beginning of their Evergreen careers. Steven Hendricks Jean Mandeberg Freshmen FR Sophomore SO Fall Fall
Suzanne Simons
  Program SO–SRSophomore - Senior 8 08 Weekend S 14Spring "The natural environment is always a shaping force of individual and group psychology and identity - and this force can only be ignored or suppressed at a price," authors Kathleen Wallace and Karla Armbruster argue in Using the natural world as framework, this half-time, writing and reading intensive program will explore how poetry helps us understand and express our complex relationships with the world around us, including the interplay between the natural world and built environment. Program activities will include field-based writing workshops at the Nisqually National Wildlife Refuge, downtown Olympia, and other locations. We will also participate in community poetry readings in Olympia and Seattle. Other program activities will include seminar, guest speakers, films, and critique workshops. Emphasis will be placed on learning and refining the practice of the craft of poetry, including sound, form, imagery and revision through extensive reading of published works as well as sharing of students' poetry. By the end of the program, students will have written and revised a modest collection of original poetry. This program is suitable for all levels of student poets, from the curious to dabblers to regular practitioners.     Suzanne Simons Sat Sophomore SO Junior JR Senior SR Spring Spring
Cynthia Kennedy and Walter Grodzik
  Program FR–SRFreshmen - Senior 16 16 Day and Weekend S 14Spring This one-quarter long, introductory program is a ten-week examination of the role that cheap art, performance and play have fulfilled in society, not only historically, but also in more modern times.  Because of the powerful role they can play in shaping human consciousness, we will explore ways of returning them to their popular roots where they can thrive outside the reign of corporate control, mainstream media, and money. Together we will investigate ways cheap art (such as masks, puppets and costumes made with everyday inexpensive materials) and performance can have meaning that is created by “regular” people and for “regular” people rather than fed us by the entertainment industry.  We will explore the answers to many questions.  What is it like for performance art to spring from our imaginations without the need for large amounts of money?  What if performance art was accessible to all people, not just those with the means and education to consume it?  What would it be like if performance art reflected deeply felt social truths that connected to our own lives?  How does street theater interrupt everyday life in the public sphere in a way that helps us connect to our own humanity? How does the use of material objects (puppets, masks, signs, banners), as well as performers voices and bodies, connect performer and audience in ways that create meaning? Our program will approach these questions in two ways.  On the one hand, we will have a strong academic component in which students will acquire knowledge about the history of performance and art in the hands of the people, looking at its aesthetics, theories, and controversies.  We will examine the rich cultural heritage of performance in the streets and connect it to the people and places where it lives on today.  Our exploration will be situated in an international context, and we will use film and text to examine performance throughout history and around the world, such as, but not limited to, political street theater, Carnival, Mardi Gras, the Bread and Butter Puppet Theater, Anna Halprin’s Planetary Dance and more. On the other hand, we will engage in large doses of experiential learning as we use simple materials like recycled fabrics, cardboard, scraps of wood, paper, reused items and other inexpensive materials to create our own cheap art and performance, which we will share with our friends and neighbors in the local streets of Olympia (or other surrounding areas) and the college campus.  During the first half of the quarter we will participate in , Olympia's yearly one-of-a-kind celebration of the natural world, held in conjunction with Earth Day. 2014 will mark the 20th year of this community celebration, which often draws crowds of up to 30,000 and has serious creative intent. The Procession was designed to bring a deep love of life into the heart, and onto the streets, of Olympia. In preparation, students will work in one of the largest community art studios in the country where people of all ages create costumes, masks and puppets from inexpensive and recycled materials. Participation in this part of the program will require three Sunday evening rehearsals in the community, as well as the Saturday afternoon Procession. During the second half of the quarter we will continue to use the street as a live public space, a radical act in response to the privatization of such public space by radio, television and film.  We will use unorthodox methods to create our own cheap art, performances, celebrations, protests, and social commentary, which we will develop in response to current events happening both locally and around the world.  Throughout the quarter our work together will develop our visual imaginations, critical thinking and writing skills, all of which are essential to academic learning and readily transferable to any profession or vocation.No performance or art experience is necessary for this program.   Cynthia Kennedy Walter Grodzik Freshmen FR Sophomore SO Junior JR Senior SR Spring Spring
Trevor Speller and Abir Biswas
  Program FR–SRFreshmen - Senior 16 16 Day S 14Spring This introductory program is dedicated to understanding the back and forth between the physical environment and the written word. How do texts shape what we are able to see in the physical environment? How does one's understanding of the physical environment shape ways of writing and understanding the world? How do we describe it? What do we read into it?In 1815, William Smith produced the first geological map of Great Britain. His investigations were a product of a new way of seeing his physical world. Rather than assuming the earth to be a stable object which remained unchanged since Noah’s flood, Smith drew on his observations, and began to see the earth as a dynamic physical entity. His discoveries came in a time when Enlightenment thinkers were questioning the order of the world, the role of religion and the value of science and industry. The modern science of geology can thus be said to have arisen from a new way of seeing: William Smith was able to read and write about the Earth not only through observations, but because of the set of cultural changes that changed his frame of mind. Importantly, Smith's observations came at a time when poets, novelists and political philosophers were beginning to actively investigate the influence of the natural world on humans and human behavior.We will consider the frames through which we read and write our physical world, through an introduction to foundational concepts in geology and literary study. We will consider how geologists investigate and describe the physical world, and examine concepts including geologic time, plate tectonics, earth materials and the evolution of life. We will consider how writers investigate and describe the natural world in the works of 18th- and 19th-century literature, as well as contemporary literature about the Pacific Northwest. We will read works of poetry, fiction, political philosophy and travel writing. Program texts may include works by John McPhee, Simon Winchester, William Wordsworth, Daniel Defoe and others.Students should expect to participate in lecture, lab and seminar, write critical papers and take examinations. There will also be field trips to locations of geological interest as well as cultural venues. Trevor Speller Abir Biswas Freshmen FR Sophomore SO Junior JR Senior SR Spring Spring
Lucia Harrison
  Program FR–SRFreshmen - Senior 16 16 Day F 13 Fall This is an art-based program that combines the study of stream ecology and visual art to provide a framework and tools to examine, observe, record, and know a place. We will explore the role of art and science in helping people develop a deep and reciprocal relationship with a watershed. Designed for beginning students in art and ecology, we will study the characteristics of local streams and make drawings that are inspired by a connection to a specific stream. The Nisqually River Watershed will be the focus for our collective work while the numerous local streams will serve as individual focal points for student projects throughout the quarter.Through reading, lectures and field study, students will learn the history of the watershed, study concepts in stream ecology, learn to identify native plants in the watershed and learn about current conservation efforts. They will develop beginning drawing skills and practice techniques for keeping an illustrated field journal. Students will work in charcoal, chalk pastel, watercolor, and colored pencil. Students will explore strategies for using notes and sketches to inspire more finished artworks.   Students will study artists whose work is inspired by their deep connection to a place. Each student will visit a local stream regularly, keep a field journal, and in the second half of the quarter, students will create a series of artworks or an environmental education project that gives something back to their watershed. Lucia Harrison Freshmen FR Sophomore SO Junior JR Senior SR Fall Fall
Suzanne Simons and Ann Storey
  Program SO–SRSophomore - Senior 8 08 Evening F 13 Fall W 14Winter Sacred Intersections focuses on a thousand-year period of Christian and Islamic art, art history, poetry, and mysticism. As the program continues in Winter quarter, we will turn our attention to a time of, roughly, the 12 through the 14 centuries. This was a period that built on the creativity, spirituality, and change of the previous era and took the arts to new heights through creative and cultural fusion. We will study the motivating ideas and issues of the age: the mystical poetic traditions of the Persian empire (present-day Iran and central Asia) and their influence on contemporary poetry; the awe-inspiring forms of Gothic architecture, and the poetry of the Beguine mystics (of present-day Germany).  The idea that both mystic and artist were “seers”—seeing beyond the physical into the transcendent and metaphysical—impelled them into visionary realms. We will examine poets such as Rumi and Hafez and other charismatic figures.  We will study illuminated manuscripts, mosaics, stained glass, sculpture, and sacred architecture of European and Byzantine Christendom and Islamic empires stretching from Spain to Central Asia.  Art workshops will enable students to move from theory to practice. Class time will be divided among the following activities: faculty lectures, art workshops, seminars, writing, films and a possible field trip to a local mosque. This program is preparatory for further study and/or careers in the visual arts, education, museum studies, religion, communication, international relations, history, and writing. Suzanne Simons Ann Storey Tue Thu Sophomore SO Junior JR Senior SR Fall Fall Winter
Eirik Steinhoff
Signature Required: Spring 
  SOS SO–SRSophomore - Senior 16 16 Day S 14Spring This one-quarter critical and creative reading and writing program is designed for advanced students embarked on the composition of long-range and wide-ranging writing projects oriented toward or against or beyond the emergent occasions that surround us. Intensive independent writing and reading will be complemented by weekly seminars, small-group workshops, and weekly and semi-weekly lectures ( the Critical and Cultural Lecture Series and the Art Lecture series); occasional screenings and a local field-trip are possible as well. “Language is fossil poetry,” Emerson declares. And indeed the radical sense of each term in this program’s subtitle offers substantial orientation for the various directions we might take: in the sense of “decision” or “choice”; in the sense of “making” (not only in what is called “poetry,” but also in other kinds of composition, whether in prose or verse, for the page or the stage or the screen); in the sense of “making visible”; in the sense of “action” or “doing.” All of which is to say that in addition to Emerson’s etymological enthusiasms we will be mindful withal of Wittgenstein’s no less fruitful suggestion that “the meaning of a word is its use.” An expanded engagement with the question Montaigne had emblazoned on the rafters of his study — — will guide us in our individual and collective inquiry: What do I know? And what do I do? How do I know and how do I do? How do we do? How do we know? How can we do things with words to find out? How might our writing become an instrument for conducting rigorous ethical and epistemological investigations designed to reconnect us, by means of our study (however elaborate or playful or recondite), back to the world we live in right now? Eirik Steinhoff Sophomore SO Junior JR Senior SR Spring Spring
Terry Setter
Signature Required: Spring 
  SOS SO–SRSophomore - Senior 16 16 Day S 14Spring This SOS is an opportunity for well-prepared students to do highly independent work in music composition, music technology, audio production, and consciousness studies.  Participants will meet as a group on Thursday mornings to review progress and share ideas for increasing the quantity and quality of the work that students are doing.  Specific descriptions of learning goals and activities will be developed individually between the student and faculty. Terry Setter Thu Sophomore SO Junior JR Senior SR Spring Spring
Evan Blackwell
Signature Required: Spring 
  SOS JR–SRJunior - Senior 16 16 Day S 14Spring This program is for intermediate to advanced students who are ready for intensive full-time work in theory and practice in the visual arts. Students will design their own projects, complete visual research and write papers appropriate to their topics, share their research through presentations, work intensively in the studio together, produce a significant thematic body of work, and participate in demanding weekly critiques. The program will provide opportunities for independent work while providing a learning community of students with similar interests. Beyond art making and visual research, this program will also provide opportunities for professional development for students who are thinking of graduate school, professional work in the visual arts, visual arts internships, or arts education at any level.  visual arts, museum studies, arts administration, public art, arts organizations, art education and design. Evan Blackwell Junior JR Senior SR Spring Spring
Shaw Osha (Flores)
Signature Required: Fall  Winter  Spring 
  Research SO–SRSophomore - Senior V V Day F 13 Fall W 14Winter S 14Spring This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. (visual art) works in painting, photography, drawing, writing and video. She explores issues of visual representation, affect as a desire, social relationships and the conditions that surround us. She is currently working on a project based on questions of soul in artwork. Students working with Shaw would have opportunities to learn about artistic research, critique, grant and statement writing, website design, studio work and concerns in contemporary art making. Shaw Osha (Flores) Sophomore SO Junior JR Senior SR Fall Fall Winter Spring
Kathleen Eamon
Signature Required: Fall  Winter  Spring 
  Research SO–SRSophomore - Senior 0, 16 0 16 Day F 13 Fall W 14Winter S 14Spring This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. (social and political philosophy, aesthetics, philosophy of art) has interests in German idealism (Kant and Hegel), historical materialism (Marx, 20 C Marxists, and critical theory), and psychoanalysis (Freud and Lacan). She is currently working on an unorthodox project about Kant and Freud, under the working title “States of Partial Undress: the Fantasy of Sociability.” Students working with Kathleen would have opportunities to join her in her inquiry, learn about and pursue research in the humanities, and critically respond to the project as it comes together. In addition to work in Kantian aesthetics and Freudian dream theory, the project will involve questions about futurity, individual wishes and fantasies, and the possibility of collective and progressive models of sociability and fantasy. Kathleen Eamon Sophomore SO Junior JR Senior SR Fall Fall Winter Spring