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 of Week | Multiple Standings | Start Quarters |
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Robert Esposito
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Program | FR–SRFreshmen - Senior | 8, 16 | 08 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 to explore 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, cultural and educational conditioning, and multiple learning styles. In solo and group collaboration, students will workshop formal craft principles of composition, such as shape, space, time, and motion. Workshops will cover various art 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 weekly in 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, journal, and research styles, with a comparative overview of APA, MLA, and Chicago writing manuals. The program culminates with a Week 10 showing of selected student work. | Robert Esposito | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | ||||
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Marianne Bailey, Shaw Osha (Flores), Bob Haft, Judith Gabriele and Stacey Davis
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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 Shaw Osha (Flores) Bob Haft Judith Gabriele Stacey Davis | Sophomore SO Junior JR Senior SR | Fall | |||
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Walter Grodzik and Cynthia Kennedy
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Program | FR ONLYFreshmen Only | 16 | 16 | Day | S 14Spring | How does imagination respond to the emotional self, the physiology of the body and the psychology of the mind? How can we become more expressive and responsive to our inner selves? This program will explore the interior spaces where performances begin and the exterior spaces where performances are realized. Through the understanding and embodiment of somatic concepts such as awareness, intention, centering, authenticity and the interplay of mind and body, students will have the opportunity to explore the creative imagination as it expresses itself from their own life processes, rather than from externally imposed images, standards and expectationsStudents will begin with movement and theatre exercises that center and focus the mind and body in order to open oneself to creative possibilities and performance. Students will also study movement/dance and theatre as a means of physical and psychological focus and flexibility that enable them to more fully utilize their bodies and emotional selves in creating theatrical performance. Students will be invited to explore and enjoy the dance already going on inside their bodies to learn to perceive, interpret and trust the natural intelligence of intrinsic bodily sensations. The class will use experiential techniques derived from several traditions of somatic philosophy. In seminar, students will read a broad variety of texts about creativity, dance, theatre and dramatic literature.The program will include weekly seminars, workshops in movement/dance and theatre and film screenings of various dance and theatre productions. We welcome students of all abilities who bring their excitement, commitment and creativity to the performing arts. | teaching, theatre, expressive arts, dance and movement theory. | Walter Grodzik Cynthia Kennedy | Freshmen FR | Spring | ||||
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Leonard Schwartz
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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 | ||||
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Kathleen Eamon and Trevor Speller
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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 | ||||
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Arun Chandra
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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 | |||
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Steven Hendricks and Jean Mandeberg
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Program | FR ONLYFreshmen Only | 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 | Fall | ||||
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Trevor Speller and Abir Biswas
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Program | FR–SOFreshmen - Sophomore | 16 | 16 | Day | S 14Spring | This 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 | Spring | |||||
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Lucia Harrison
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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 | |||||
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Suzanne Simons and Ann Storey
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Program | SO–SRSophomore - Senior | 8 | 08 | Evening | F 13 Fall | W 14Winter | This two-quarter program will examine a thousand-year period of Christian and Islamic art, art history, poetry, and mysticism from roughly the 4th through 14th centuries. This was a singular period of creativity, spirituality, and change. We will study the motivating ideas and issues of the age: the dynamic influence of migrating tribal cultures on inherited classical traditions, the problem of iconoclasm, and Neoplatonic philosophy expressed through the visions of the mystics. 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 learn about the mysticism of Hildegard of Bingen, Meister Eckhart, Sufi poets, and other charismatic figures as we see their visions expressed in superb mosaics, illuminated manuscripts, stained glass, sculpture, calligraphy, sacred geometry, miniature painting, and sacred architecture of European Christendom and Islamic empires stretching from Spain to Central Asia. Sacred music of the era will be experienced through recordings and a possible field trip. Art workshops will enable students to move from theory to practice. | Suzanne Simons Ann Storey | Tue Thu | Sophomore SO Junior JR Senior SR | Fall | |||
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Evan Blackwell
Signature Required:
Spring
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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 | ||||
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Joe Feddersen
Signature Required:
Fall
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SOS | JR–SRJunior - Senior | 16 | 16 | Day | F 13 Fall | This is an intensive full-time, one-quarter program designed for students ready for intermediate to advanced work in theory and practice in the visual arts. Students should be ready to work independently in the studio and in their research, but must also be interested in the learning community of a classroom. The academic content, lectures, and instruction are collaborations between the faculty and the students enrolled. Credits are earned through your project and research related to your project and program activities such as seminars, the , field trips, and research presentations. Students will work intensively on their proposed projects. They will produce a solid body of work, write papers, present their research to the program, work intensively in the studio together, produce a solid body of work, and participate in critiques. They should expect to work 20 - 30 hours per week outside of class meetings. | Joe Feddersen | Junior JR Senior SR | Fall |