Each section will have a unique description

Prerequisite: n/a
Course Credit: 3

This is a one semester exchange program with Academy of Media Art Cologne, Germany. By Permission Only. 12 Cr

Prerequisite: n/a
Course Credit: 12

1) In the course of the term each student will develop his or her definition of propaganda; 2) They will develop a broad familiarity with the techniques of persuasion, ""perception management"" and information manipulation & control and they will become familiar with the variety of ways in which the principles and practices of contemporary advertising and Public Relations intersect and overlap with the practices of propaganda; 3) They will be introduced to the ways in which the imagery of contemporary advertising establishes an environment for the dissemination of propaganda; 4) They will learn something of the ways in which the economics of advertising influences the flow of information and the practices of censorship; 5) They will be introduced to examples of ""Alternative Media,"" and alternative sources of information; and, 6) They will learn the meaning of ""full spectrum"" information.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Is the media liberal? Are all politicians in the pockets of corporations? Is dissent unpatriotic? Is the U.S. a nation to be loved or feared? Is it a democracy? An empire? Both? How are we, as citizens (of any country) to find our way through the rhetoric of the left, the right, the middle? How can we make sense out of the increasing flood of political and cultural information that bursts from our computers, televisions, radios, newspapers and movies? Whom should we believe? This course seeks to provide the tools to help make sense of it all.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Is the media liberal? Are all politicians in the pockets of corporations? Is dissent unpatriotic? Is the United States a nation to be loved or feared? Is it a democracy? An empire? Both? How are we, as citizens (of any country), to find our way through the rhetoric of the left, the right and the middle? How can we make sense out of the increasing flood of political and cultural information that bursts from our computers, televisions, radios, newspapers and movies? Whom should we believe? This course seeks to provide the tools to help make sense of it all.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

Visual perception, which includes both observation and interpretation, ranges from the mere detection of objects being present in the visual field, to the construction of reality and the assessment of meaning. This course will cover both the anatomical and neuropsychological aspects of visual perception. The anatomical structures involved in seeing (the eye and the visual cortex) will be studied and related to "normal" seeing and dysfunction, including characteristics of the visual field, the perception of color and brightness, the recognition of faces, and depth perception. The psychological processes relevant in visual perception include attention and selection, seeing emotional content, and the relation between seeing and thinking. Students will gain an understanding of "seeing" as both an action and a neuropsychological construction, and become more aware of the characteristics of the experiential phenomena of seeing. Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

Visual perception includes both observation and interpretation and ranges from the mere detection of objects being present in the visual field, to the construction of reality and the assessment of meaning. This course covers anatomical and neuro-psychological aspects. The anatomical structures involved in seeing, (the eye and the visual cortex) will be studied and related to 'normal' seeing and dysfunction. This includes characteristics of the visual field, the perception of color and brightness, and the recognition of faces and the perception of depth. The psychological processes relevant in visual perception include attention and selection, seeing emotional content, and the relation between seeing and thinking. We will deal with the neurological equivalent of these processes, and study both normal and abnormal perception of the environment and the body. The objective is to gain an understanding of seeing-as-action, as a neuropsychological construction, and to become more aware of the characteristics of the experiential phenomena of seeing.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

In this course, students will learn how the study of psychology can provide answers to real world problems.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Prerequisite: Take HUM-100 Writing Studio
Course Credit: 3

Prerequisite: Take HUM-100 Writing Studio
Course Credit: 3

This section of the Art of Research will help students acquire a foundation understanding of what research is and how they may implement it into their own work. Beginning with how research has been used historically and a short survey of examples. The course quickly moves on to hands on projects that exploring a variety of research methods and processes: from media surveys to interview techniques and the ethical considerations required with the use of such. Final emphasis will be placed on critical refection and interpretation of research into design criteria and strategy. The research methods explored in this class expose students to a balance of non-discipline specific research techniques and discipline specific research techniques. This combination balances the research process between form making, Community insight and critical reflection. Increasingly, designers use Design Research as a critical component of the design process to establish a strong problem foundation, to discover fresh, uncharted design opportunities and to test their design hypothesizes. This course provides you with a toolbox of techniques and methods that can be used throughout your career to apply design-centric research as an integral component of the design process.

Prerequisite: Take HMN-100 Writing Studio or HMN-101 Writing Studio: Intensive
Course Credit: 3

Prerequisite: Take HMN-100 Writing Studio or HMN-101 Writing Studio: Intensive
Course Credit: 3

This course examines research techniques, methodologies and strategies and their benefits to the design world. Discover methods designers use to integrate research into the design process to enhance and supplement their original concepts. Through case studies, guest speakers, observation and hands-on research, learn how to design and analyze research studies, and use the findings to support, persuade and sell your designs. This course is relevant to many design diciplines.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: Take HUM-100X Writing Studio or completion of a college-level English composition with a grade of B or better.
Course Credit: 3

Fatalism, skepticism, moral relativism, political power, artificial intelligence, existentialism, and the nature of art will be discussed as we read primary philosophical texts including those by Plato, Nietzsche, Descartes, Kant, Marx, Oscar Wilde, Lao Tzu, and Jean-Paul Sartre. From "Zeno's Paradox" in ancient Greece to Michel Foucault's "Discipline and Punish," we will grapple with the intellectual watersheds that continue to haunt the modern mind.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

We all come from someplace, even if we try to escape it. The global exchange of goods and ideas does not preclude the experience of what146s around us. This course explores the connection between the places where we live and the stories that we tell about ourselves. We will read a variety of memoirs, both contemporary and historical, in terms of the writer146s relationship to place. Our journey will take us around the United States and across the globe with all sorts of immigrants, nomads, and expatriates.

Prerequisite: Take HMN-100 Writing Studio or HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Understanding the principles of engineering that guide the development of automobile design and manufacture. Covers automobile functionality and gives an overview of the demands placed on the design process.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

In this course, students will gain an understanding of the principles of engineering that guide the development of automobile design and manufacture. This course covers automobile functionality and gives an overview of the demands placed on the design process.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

In one course it is not possible to show the entirety of avant-garde film history, only a slender chunk of it, like a core sample taken from a tree commonly thought to be dead. Unfortunately, history (in the guise of the market economy's triumph) has not been very kind to the avant-garde canon: films have fallen out of distribution; texts have gone out of print; whole careers have disappeared. In spite of these depredations, idealists still believe that alternative film practices have not yet exhausted themselves. Avant-Garde Film's screenings and readings may even suggest possible strategies for an independent cinema that conceives of itself as more than just a fawning poor relation of Hollywood.

Prerequisite: Take HMN-100 Writing Studio or HMN-101 Writing Studio Intensive
Course Credit: 3

Avant-Garde Film 2 continues the program of film screenings and readings from Avant-Garde Film 1. However the first is not a pre-requisite for this course. In one course it is not possible to show the entirety of avant-garde film history, only a slender chunk of it, like a core sample taken from a tree commonly thought to be dead. Unfortunately, history (in the guise of the market economy146s triumph) has not been very kind to the avant-garde canon: films have fallen out of distribution; texts have gone out of print; whole careers have disappeared. In spite of these depredations, idealists still believe that alternative film practices have not yet exhausted themselves. Avant-Garde Film 2146s screenings and readings may even suggest possible strategies for an independent cinema that conceives of itself as more than just a fawning poor relation of Hollywood. The main requirement of the course is a 12-page term paper, due at the last class meeting. As an alternative, students may elect to write one page per weekly screening to fulfill this requirement. Attendance is particularly important in this class, since many of the films are not available on DVD.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Exchange course from CAL Tech.

Prerequisite: n/a
Course Credit: 3

The aim of this class is to provide a better and deeper understanding of the German culture, the history of the country, and the mentality of its people. The testlab being based in the capital of Germany, a strong emphasis will be put on the very unique situation and position of Berlin in the past, in the present, and in the future. In order to take full advantage of the fact that we are "vor Ort," all lectures will be accompanied by extensive field trips. Thus, we will not only visit different museums, exhibitions or architectural landmarks but-as important-will experience the city, different urban lifestyles, and "practice" MOBILITY. Traveling, being outside the studio is part of the course. The class shall be as closely linked to the studio classes as possible in order to further help generating a solid research foundation for the final designs of MOBILITIES 2030.

Prerequisite: n/a
Course Credit: 3

The seminar offers an introduction to German Cinema while approaching the films and historical issues from the perspective of feminist film theory. Students will develop the analytical tools for detangling the complex visual structures of gender (within but also beyond the films discussed in class). Together, we will examine the particular role of female figures in German cinema by considering the Lola figure. The course includes the discussion of the work of female directors such as Helke Sander or Doris D?rrie, and actresses such as Marlene Dietrich or Nina Hoss. It also introduces students to the theories of important German feminist film critics. During a session on pornography, it will be possible to schedule an excursion to the Berlin-based Porn Film Festival at the end of October, where the class would be able to listen to a lecture and discuss some pornographic films with their international directors. The course encourages students to take pleasure not only in seeing and discussing but also in writing about films (from a reader-oriented as well as critical position). Together we will develop a critical vocabulary in order to describe how gender structures are reflected through film.

Prerequisite: n/a
Course Credit: 3

The Berlin Collective 2 will be a one-of-a-kind, eight to twelve-week cultural immersion in Berlin, giving students a unique opportunity to share a collective studio experience in a major European city. It is intended to challenge the individual's ability for keen observation, comprehensive research, articulation of ideas, presentation skills and collaborative abilities, and expand cultural sensitivity and awareness. Each individual will explore Berlin through the lens of his or her own selected topic, fostering their ability to draw connections between new cultural experiences and ideas, and finding resonance within their own developing work. Accompanied by a curated blog presence, travel documentation and an exhibition at ACCD.

Prerequisite: n/a
Course Credit: 3

The Berlin Collective 2 will be a one-of-a-kind, eight to twelve-week cultural immersion in Berlin, giving students a unique opportunity to share a collective studio experience in a major European city. It is intended to challenge the individual's ability for keen observation, comprehensive research, articulation of ideas, presentation skills and collaborative abilities, and expand cultural sensitivity and awareness. Each individual will explore Berlin through the lens of his or her own selected topic, fostering their ability to draw connections between new cultural experiences and ideas, and finding resonance within their own developing work. Accompanied by a curated blog presence, travel documentation and an exhibition at ACCD.

Prerequisite: n/a
Course Credit: 3

This is a one semester exchange program with Berlin University of the Arts. By Permission Only. 12 Cr

Prerequisite: n/a
Course Credit: 12

Students will learn how to use nature as a source of inspiration for their work. In this course, students will become acquainted with basic concepts in biology, physics and engineering. We will explore how nature146s designs differ from manmade designs, and how people have attempted to solve design problems by mimicking nature. Students will apply what they learn to a design proposal in their chosen field.

Prerequisite: Take HMN-100 Writing Studio,or HMN-101 Writing Studio Intensive, or Pass the Writing Placement Exam;
Course Credit: 3

Brand strategy builds on a vision, is aligned with business strategy, emerges from a company?s values and culture, and reflects an in-depth understanding of the customer?s needs and perceptions. The purpose of this class is to gain a more thoughtful and critical understanding of a brand, its history, current trends, social and ethical implications, cultural context, as well as the brand?s relationship to our individual and generational identity. We will explore sustainability and its impact on brand value and what it means to create truly responsible design. Students will conduct and evaluate various forms of research and develop brand platforms and creative briefs to inform and inspire innovative solutions within their current design projects from studio classes and individual projects. Through class discussions of design thinking, critiques of design work, guest speakers, presentation and analysis of case studies, and development of branding strategies and strategy diagrams, we will examine how a brand is defined and translated through environmental design, product, graphics, advertising and communications. We will work in multidisciplinary teams in a design charette format to created branded projects to implement directly what we have learned over the term.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This is a one semester exchange program with Braunschweig University of Art in Braunschweig, Germany. By Permission Only. 12 Cr

Prerequisite: n/a
Course Credit: 12

This class offers an insider's view of the business side of film and television development and production, from the acquisition of rights and the negotiation of agreements for writers, producers, directors and actors through the many avenues of distribution, including consideration of ancillary markets an so-called new media.

Several class meetings will feature guest speakers, including top industry professionals such as studio executives, directors, producers, agents, etc. This class is open to all majors.

Prerequisite: n/a
Course Credit: 3

Building a successful career requires not just talent, but an understanding of what it takes to be in business. Business 101 is an introduction to the business side of creative practice. The 14 week course is divided into two parts: general business information, including starting up, intellectual property and money; followed by a second part covering topics specifically geared towards the illustration, photography, or design business, including marketing and self-promotion, pricing and estimating, contracts, and client relationships.

Prerequisite: Take HMN-100 Writing Studio or HMN-101 Writing Studio: Intensive
Course Credit: 3

The skills learned throughout your education at Art Center are invaluable for acquiring a position in the field of Product Design. However, in this extremely competitive field, skills alone will not assure as successful career. Individuals that excel in the field whether as entrepreneurs, as corporate designers or as consultant designers, have embraced and exploited their role in the bigger universe of industry. Designers that possess an understanding of business, industry, corporate disciplines and systems and how design can strategically contribute to business objectives and goals have enjoyed more rapid advancement and a higher level of career success.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Prerequisite: n/a
Course Credit: 12

The Culture portion of the Design Matters Trans Disciplinary course.

Prerequisite: n/a
Course Credit: 3

This course has you consider and understand children's literature and, additionally, asks you to write fiction or non-fiction for children. You need not be a writer to take this course--you learn by doing. We will read and analyze stories for children, ranging from myths to modern works, from young children to young adults. We will examine narrative structure and some of the basic requirements for writing books for publication. You should leave the course with a better understanding of the role literature plays in the lives of children as well as how to create it.

Prerequisite: Take HUM-100 Writing Studio, HUM-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Films from China and Hong Kong are today a celebrated part of world cinema, winning prizes and international audiences. This course introduces students to key films that first won attention, as well as the visionary filmmakers who made them. We will learn of the critical role of the "Fifth Generation" of filmmakers who emerged in China in the 1980s, determined to redefine film language and to convey what they saw as the truth of modern Chinese life. Knowing something about their precursors -- 1930s Shanghai film, 1960s and 70s propaganda film -- lays the groundwork for deeper understanding and appreciation. Finally, we examine the films of a new generation -- the Sixth Generation and beyond -- and of Hong Kong, a territory dominated by urban rhythms.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

American commercial films have been the subject of sustained commentary and debate for nearly as long as they have been produced. Their work on spectators in society is understood rather well by marketing executives, by intellectuals, and indeed by many 147average148 consumers, if the relentless self-reference of contemporary movies can be accepted as proof. The latest blockbusters 150 soon to be commonly acknowledged classics 150 address us as through they are the only satisfactory alternative. They (and their flacks ) suggest that it would be perverse to want anything more from a movie. And yet, some people go looking elsewhere for film history. There is no unifying theory of works that offer resistance to the dominant model. A number of disparate tendencies and histories must be taken into account. This course takes up a discussion of a few of them in an attempt to suggest possible strategies for those still interested in pursuing a contestatory film practice.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course traces the emergence of China as a contemporary society through its visual culture. After World War II the country was dominated by a Socialist Realist aesthetic - in art, film, and design for publications and posters. During the era of "reform and openness" in the 1980s, artists and students were finally allowed to see what the rest of the world was doing, and launched their own experiments in artmaking, even inventing a movement called Political Pop which caught the attention of curators and collectors in the West. A few went abroad to study and work - two being Ai Wei Wei and Cai Guo Qiang, both now major international artists. Politics remains sensitive in China where censorship is a harsh reality - witness the well-publicized jailing of Ai Wei Wei, who has returned to China to live, for his activities. Topics to be covered include the dominance and subversion of the written language, the re-use of folk imagery, and the tradition of disguised protest in art.

Prerequisite: n/a
Course Credit: 3

This course is designed to provide students with both the context and skills they need to create art, design, and media for social impact. During the first half of the term we will explore examples in the spheres of social documentary, political cartooning, urban planning, human-centered design, etc., to help students establish a framework for understanding creative interventions into global social innovation. The second half of the course will focus on helping students build a methodological toolkit for hands-on social impact projects. We will build on design research and ethnographic field methods in order to construct fresh approaches to solving complex, real-world problems, as well as analyze the successes and struggles of current social impact initiatives. For their final projects, students will use what they have learned to identify opportunities for creating social change in their own areas of interest.

Prerequisite: n/a
Course Credit: 3

CREATIVITY COACHING WORKSHOP FREE - NO NEED TO ENROLL/NO CREDIT (see contact info below) Open to all Art Center students (undergraduate and graduate), the workshop consists of individual one-on-one meetings with the creativity coach at times to be arranged. The focus is on effortlessly releasing your untapped creative energies to make your work more alive, dynamic, original and truly fulfilling. Creativity-enhancing processes are easily customized for your own specific needs and goals. It's simple, fun and free, and produces dramatic immediate results on projects/assignments in all design disciplines. Inspired "play" and time management techniques are also available to promote stress reduction and a richer, more creative Art Center experience. To arrange a meeting, please contact Jay Chapman at (626) 353-6300 or jchapman@artcenter.edu.

Prerequisite: n/a
Course Credit: 0

Artist and critical studies professor, Pauline Sanchez, will meet with Humanities & Science students to discuss and critique ongoing student production including writings, fine art and/or design projects to deepen their understanding of history, culture, theory and how their work functions in the contemporary art and design world. Further readings and/or research may be assigned. Students will sign up for one-hour meetings.

Prerequisite: n/a
Course Credit: 0

Critical Practice I will provide a basic visual vocabulary or rhetoric. The primary learning objective is to understand how images work, successfully or not, to convey the intended meaning of the artist/designer to a desired audience. Rather than ask what images mean, the emphasis is on how they work in a variety of contexts. In other words, students will learn the rhetoric of visual communication1/rhetoric understood here as a form of persuasion that produces an intellectual and physical transformation in the viewer. This is a different approach from the usual critical theory class in which the goal is to understand different theoretical frames, models of interpretation or a prior condition of meaning. Instead, following Wittgenstein, the question of meaning begins only after a desired effect (or affect) is produced a model based on intentionalism.

Prerequisite: Take HMN-100 Writing Studio,or HMN-101 Writing Studio Intensive, or Pass the Writing Placement Exam;
Course Credit: 3

In this course, students will learn the rhetoric of visual communication as a form of persuasion that produces an intellectual and physical transformation in the viewer. Rather than asking what images mean, the emphasis is on how images work in a variety of contexts to convey the intended meaning of the artist/designer to a desired audience. This is a different approach from the usual critical theory class in which the goal is to understand different theoretical frames, models of interpretation or a prior condition of meaning. Instead, following the lessons of philosopher Ludwig Wittgenstein, the question of meaning begins only after a desired effect (or affect) is produced-a model based on intentionalism.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: HMN-100X Writing Studio or completion of a college-level Engllish composition course with a grade of B or better.
Course Credit: 3

Cultural anthropology shows the organic design of culture in general, emphasizing the similarities and differences between cultures in the world. By the end of the course the student should understand the basic institutions of all cultures as well as be able to discuss the traits, rituals, and lifeways of several specific cultures. We will answer the following questions: Why do people in different parts of the world act so strangely and why should design and art students care? How do anthropologists discover the design of culture? Why do mothers in the Beng culture give their babies chili pepper enemas? Why do you speak with an accent when you learn a second language? When is your wife's mother also your father's sister? Why is Indian food served on metal trays? and many others.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Explore the many facets of filmmaking through lectures, discussions, readings and weekly trips to theaters (on students' own time) to view current films. Through intensive analysis of the formal elements of design and by studying how image and sound are manipulated for expressive purposes, you will learn how to really see, hear-and more fully experience-the full potential of film.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

Through weekly trips to theaters (on students' own time) to view current films chosen by the class, lecture, discussion and reading, students explore the many facets of current filmmaking and how film works. Through lectures, discussions and readings, students examine the ideas, implications and ramifications of a broad variety of films, and the relationship between theory and practice. Finally, through intensive analytical analyses of the ways in which the formal elements of design of the image and sound are manipulated for expressive purposes, students learn how to really see and hear, and more fully experience the full potential of film.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

A cross-disciplinary exploration of future-oriented issues in Transportation, created in synergy with specific Sponsored Projects. This class is designed to join up the dots between Humanities and Design Sciences work and that of the majors. The class aims to foster smart ways of researching, selecting and developing material from diverse sources into a coherent project that is both specialized and contextualized. Examples might include: C Engineering and materials considerations C How power as energy connects with power as politics C What we have in common with previous times of change C Motion as transportation and as corporeal movement In this way, students will be exposed to a wide range of issues affecting research and development in automotive and mobility design. Learning Outcomes. Students will: 1. Develop creative and analytic responses to a brief 2. Develop their individual research skills, and an understanding of what research is in a number of contexts 3. Learn how to craft the kinds of question that will engender innovation 4. Relate broad theoretical and real-world issues to their major 5. Conversely, relate their major to broader issues 6. Enrich their final presentations through high level analysis and articulation of the issues

Prerequisite: Take HMN-100 Writing Studio,or HMN-101 Writing Studio Intensive, or Pass the Writing Placement Exam and CUL-206 History and Theory of Space 1
Course Credit: 3

A cross-disciplinary exploration of future-oriented issues in Transportation, created in synergy with specific Sponsored Projects. This class is designed to join up the dots between Humanities and Design Sciences work and that of the majors. The class aims to foster smart ways of researching, selecting and developing material from diverse sources into a coherent project that is both specialized and contextualized. Examples might include: C Engineering and materials considerations C How power as energy connects with power as politics C What we have in common with previous times of change C Motion as transportation and as corporeal movement In this way, students will be exposed to a wide range of issues affecting research and development in automotive and mobility design. Learning Outcomes. Students will: 1. Develop creative and analytic responses to a brief 2. Develop their individual research skills, and an understanding of what research is in a number of contexts 3. Learn how to craft the kinds of question that will engender innovation 4. Relate broad theoretical and real-world issues to their major 5. Conversely, relate their major to broader issues 6. Enrich their final presentations through high level analysis and articulation of the issues

Prerequisite: Take HMN-100 Writing Studio,or HMN-101 Writing Studio Intensive, or Pass the Writing Placement Exam and CUL-206 History and Theory of Space 1
Course Credit: 3

This course will introduce students to the use of ethnographic research methodology for the field of design. The purpose of conducting design ethnography is to learn about individual and collective social action and its application to the practice of design. We will explore the philosophy of ethnography and how the field of design ethnography is developing into a unique pursuit with its own philosophical grounding. We will also explore the ways in which design ethnography can be used at various stages of the design process. In addition to learning the philosophy and methodology of design ethnography, a second (and equally important) focus of the course will be the production of various documents, images, representations and texts. The process of creating image, writing and combinations of the two and the necessary revising in ways appropriate for the practice of design, will be the main mode of learning and communicating knowledge. You will be responsible for designing and conducting a design ethnography research project, gathering and analyzing ethnographic data and communicating those data through a short paper and presentation using various modes of representation. The final project can address a new design (as a proposal) that you want to create based on your research findings or it can address issues related to the way in which design objects are used or create meaning in the world.

Prerequisite: Take HMN-100 Writing Studio,or HMN-101 Writing Studio Intensive, or Pass the Writing Placement Exam;
Course Credit: 3

"Design" is being redefined and designers must now use their unlimited ingenuity to consider the environmental consequences of materials, production methods, performance, and life cycling. Students learn the fundamental principles of the science of ecology, study methods for evaluating environmental performance of design/product concepts, and learn current strategies for creating a sustainable interface between design and the environment.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

'Design' is being redefined and designers must now use their unlimited ingenuity to consider the environmental consequences of materials, production methods, performance, and life cycling. Students learn the fundamental principles of the science of ecology, study methods for evaluating environmental performance of design/product concepts, and learn current strategies for creating a sustainable interface between design and the environment.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

CAL TECH class through Exchange Program

Prerequisite: n/a
Course Credit: 3

The leading edge of design is becoming increasingly high tech. Microprocessors are enabling designers to incorporate both sophisticated behaviors and intelligent user interfaces into their products. This Class will introduce students to a modern low cost microprocessor, the Arduino, and teach the core electronic sciences required to use it to control interactive design. This class assumes no prior knowledge of electronics, although students should have basic mathematical skills.

Prerequisite: Take HUM-100 Writing Studio, HUM-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

How do we get ideas? Where do they come from? Are they just luck or can we find a path that leads us reliably towards them? It is "the deep imagination" that is the source of inexhaustible inspiration. As artists we need to understand what it is and how to establish a relationship with it. This class, in conjunctions with TDS-358, aims to further that life long journey to inspiration and personal growth as an artist. Combining the insights of modern psychology and creative techniques, this course proposes to deepen our understanding of the symbolic dimension of image making. By exploring our dreams, fantasies, and other products of our unconscious we will reveal the relevance of the world's mythologies to our personal lives and work, and how as artists we impact the community. A team of faculty members from different disciplines: illustration, psychology, literature, and theater, along with guest faculty will lead the explorations.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or passed prof test
Course Credit: 3

This is a one semester exchange program with The ?ole Nationale Sup?eure des Beaux-Arts in Paris. By Permission Only. 12 Cr

Prerequisite: n/a
Course Credit: 12

This is an advanced college-preparatory writing class for ESL students.

Prerequisite: n/a
Course Credit: 0

The dictionary defines an Entrepreneur as, "A person who organizes, operates, and assumes the risk for a business venture". However we must also add to this somewhat bland definition, that an Entrepreneur is a true 'Innovator'. One who recognizes opportunities and organizes resources to take advantage of the opportunity. Henry Kaiser, the Steel and Automotive magnate has a wonderful definition of what entrepreneurs must do, when he said, ?Find a need and fill it?! Entrepreneurship is about hard work, reducing risk, and promoting a simple solution. Entrepreneurs are risk reducers and leave nothing to chance. Entrepreneurs take a 'prove it' attitude and gain strong understandings of how the product works. Little is left to chance or guess work.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course explores the impact of overpopulation, urbanization, pollution, politics, and environmental activism on the land, oceans, and atmosphere. Such topics as endangered species, biodiversity, overpopulation, animal rights, deforestation, desertification, toxic waste, global warming, ozone depletion, wetlands destruction, oceanic threats, and overgrazing will be covered. Students will be better informed to interpret complex environmental issues and apply them to their work and daily lives. They will be better prepared to have their work, either design or fine art, reflect the urgent nature of global concerns. They will also be introduced to the idea of science as the foundation of the realities facing our world today.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course explores the impact of overpopulation, urbanization, pollution, politics and environmental activism on the land, oceans and atmosphere. Such topics as endangered species, biodiversity, human overpopulation, animal rights, deforestation, desertification, toxic waste, global warming, ozone depletion, wetland destruction, ocean threats and overgrazing will be covered. Students will learn to interpret complex environmental issues and apply them to their work and daily life and be better prepared to have their work, whether fine art or design, reflect the urgent nature of global concerns.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

Exposed: Documentary + Social Narrative is a studio/academic course combined. Students receive 3 academic credit units and 3 studio credit units. As a whole, this course explores social narrative and contemporary, emerging and participatory documentary practices. In this course, the academic portion of the combined class, we examine how storytelling and narrativity exists in social change and movements. How is social change narrated? How is its meaning told? Who is doing the narrating? What makes for new social narratives? How are they constructed? And, where are you as a social narrator/cultural maker in the scheme of making social meaning? This class also critically investigates several forms and approaches to social narrative - from historical texts to social liberation movements, from political comic books to documentary films, from fictional literature to archives of personal stories and histories. How do we allow unheard voices to be heard? How do we bring 'unofficial' narratives and histories to light? How do we share narratives to enact change? In this course, students develop significant insight into how we are shaped by our social narratives and are asked to question and develop their own sense and role as active and creative social agents, witnesses and participants.

Prerequisite: n/a
Course Credit: 3

This course is not a production film class, but a course that composites possibilities of how to view and interpret an Alfred Hitchcock film, (or a film/sign), alongside an immense history of theoretical and critical writings. The course examines authorship, spectatorship, and identity together with other issues of reflexive film, and film?s relationship to issues in painting, theatre, architecture, opera, music and sound, and literature. We view and research Hitchcock?s films by the use of multiple lenses including an expressionist?s lens, a surrealist lens/or a psychoanalytical lens, a surveillance/voyeur lens, a semiotic lens, supported by readings by Raymond Bellour, Jacques Lacan, Slavoj Zizek, Gilles Delueze, William Rothman, Leland Pougue, Fredric Jameson and others. The course also examines the political and social atmospheres of the times in which the films were made, and identifies the filmographies? affect/effect, its pop cultural manifestation and influence. In connection, the course explores Hitchcock?s universal themes, clarifies Hitchcockian space, suspense, objects and the use of the McGuffin, and distinguishes his use of Hamlet persuaded theatre. Starting with the Pleasure Garden in 1927 and ending with Family Plot in 1976, the director made 59 full-length films and scores of television 1/2 hours plots that locate characters in a fear constructed social system.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course is an in-depth auteur study of one of the most influential filmmakers of the Nouvelle Vague or French New Wave, Jean-Luc Godard and his influence on art and cinema and critical thinking of the last 48 years. Topics include an examination of Godard146s defiance of the conventions of Hollywood, his radical and unambiguously political understanding of film history near history, his economic and cultural views, his scholarly interpretations of philosophy and cinema, his participation in film studies and film theory, and his thought-provoking associations of painting, poetry and cinema. This course also examines film as challenging literature, painting, problems of director/character and their relation to the cinematic spectator, form and cinema146s relationship to itself as identity purveyor and its connection to world cinema and politics. The course also examines Godard146s relationship to Bertold Brecht and their relationship to historical and cinematic theoretical positions. Readings include the important body of academic analysis of this leading filmmaker. Along with lectures, the class views and discusses a precise curation of Godard146s films, television and writing spanning from the late 50146s to his most recent including rare shorts. The class also surveys some of the international museum exhibitions/film retrospectives on the work of Godard including the Centre Pompidou146s 2006 Jean-Luc Godard A Complete Retrospective: 140 films, Documents: 75 films and the 2007 UCLA Film and Television Archive Forever Godard, 2007.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Study of 1970's & 1980's American Cinema through a thorough examinationof the filmography of John Cassavetes, ofter noticed as the Inventor of Forms and an actor & film director who is regarded as a pioneer of American cinema verite. Topics include cinema verite or direct cinema, identification & rhetoric, counter-culture independent & anit- studio production metods, acting methods, realism, crime drama, Hollywood B-movies & the convention- ality of studio system production. Examines film as literature, film as painting, problems of director/character & their relation to the cine- matic spectator, form & cinema's relationship to itself as identity purveyor & its connection to world cinema & the dominant Hollywood apparatus & the busting of form through reconsiderations of form & the study of emotion. Examines Cassavetes' relationship to cinema & theatre history & to historical philosophical & cinematic theoretical positions. Considers Cassavetes' influence on cinema in the last 40 years. Readings include the ijportant body of academic analysis of this lead- ing filmmaker. Along with lectures, the class views & discusses a precise curation of Cassavetes films including: Shadows (1959), Faces (1968), Husbands (1970), A Women Under the In- fluence (1974), The Killing of a Chinese Bookie (1976), Opening Night (1977), Gloria (1980), Love Streams (1984), & Big Trouble (1986). Course Objectives: Provide an historical & theorectical context to the times in which we live by grasping the cinematic field of perception our society views from. Enables students to better understand the linkages of cultural images from films in our past pop culture to our current pop culture, and it will better enable them to under- stand complex theories in film, art & design. Will also enlighten the student to the possibil- ities of interpreting our cinematic gaze the we place so ofter onto our entire visual ex- perience bothsocially, & psychologically. Formost the course will enable all students to better understand how form & content/meaning coexist & will encourage them to better understand the possibility of meaning in their own work, whether that is film or any other form of art & culture. Also helps students understand the need & influence of scholarly research.

Prerequisite: Take CUL-220 Intro to Modernism & Take HMN-100 Writing Studio or HMN-101 Writing Studio Intensive
Course Credit: 3

The Films of Luchino Visconti: An Eye to Italian Cinema and Its Politics. This course is a comprehensive study of Italian Neo Realism and cinema's power to obsess and convey the socio-economic, psychological and political realities of post WWII, as well as its influence on new cinema and cultural politics produced since mid 20th Ca. through to today. Visconti's influence on world cinema remains a major voice in style and rhetoric as it influenced the work of Godard, Fassbinder,Scorsese and countless others.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

In depth look at the Films of Fassbinder

Prerequisite: n/a
Course Credit: 3

Comprehensive study of the social, economic, political and formal complex cinema of Robert Bresson. Analysis of cinema in the tradition of auteur study.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Examines the vast maze of social, political & psychological subjects Kubrick's films tour within their stylistic and conceptual density. Track the recurrences and parallels from one film to another which clarify the nature of his total cinematic universe-focusing on their historical and theoretical subtext.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course is an examination of the filmography of Werner Herzog by an inclusive analysis of the development of his oeuvre of features and documentaries for the last 48 years. Topics of study include the problems of realism and the documentary, world cinema history, national cinema and national identity during the 60?s and 70?s post WWII and its affects on national identity, language/identity and cinema, the authority of landscape, stardom and locality, and the perception of landscape by means of cinema. Additional topics include Herzog?s relationships or non-relationships to cin? v?t?r direct cinema, 1970?s New German Cinema, German Romanticism, German Expressionism, European Imperialism, Colonialism and its impulses and its correlation to the development of world cinema. The course also examines Herzog?s association to other cinema and painting history. Along with lectures, the class views and discusses a precise curation of Herzog?s films including earlier ones such as Signs of Life, Fata Morgana, Land of Silence and Darkness, Aguirre, the Wrath of God, The Enigma of Kaspar Hauser, Fitzcarraldo and continues on to his more current films including Lessons of Darkness, Little Dieter Needs to Fly, and Grizzly Man. The course also considers Herzog?s other works including screenplays and other writings.

Prerequisite: Take HUM-100 Writing Studio, HUM-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This studio-seminar will begin with the history of devices and applications used in visual culture, from 1500 to 2050. It will be a journey into "seeing things," as well as seeing machines, how these mechanisms responded to their moments, how they faked, revealed, transfigured, transmogrified. We will explore the poetics and optical irony of storytelling across media, from live-action movies to animation on the screen, and in real space. We will look at different modes of storytelling that rely on design: drama, folklore, epics, picaresques, carnival, masque, along with the role of "seeing machines" for each of these modes, how optical tools edit time itself, or change point of view; even become characters themselves. What must be left out to make the rhythm effective? erasures, amnesias, ambiguities, hooks. Most of all, throughout this class, students will explore how digital imaging today can be understood more profoundly through new eyes: new points of origin, and the metamorphosis of old visual codes; to locate their own emerging visual grammars. Norman Klein will lead the class and will be joined by designer Geoff Kaplan, founder of General Working Group and a second filmmaker/animator to be announced.

Prerequisite: Take HUM-100 Writing Studio, HUM-101 Writing Studio Intensiv or Pass Writing Qualifying Exam
Course Credit: 3

While it is impossible to predict the future, it is clear that recent scientific and technological developments are poised to make a dramatic impact on our lives over the next half century. This class will focus on understanding the basic science behind the upcoming revolutions in bio-technology, artificial intelligence and quantum science, and on engaging students in developing a shared vision of a desirable future. Topics will include: robotics and artificial intelligence; quantum, nano and biotechnology; future energy sources; and mankind's possible future in space. The range of problems our society will face in coming years will be discussed, with particular emphasis on the science behind issues such as global warming. Ethical dilemmas posed by technology will also be explored. Are there lines that we, as a society, should not cross?

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).



Prerequisite: n/a
Course Credit: 3

While it is impossible to predict the future, it is clear that recent developments in the biological, quantum, and information sciences are poised to make a dramatic impact on our lives over the next half century. This class will focus on understanding the basic science behind the upcoming revolutions in bio-technology, artificial intelligence, and quantum science, and on engaging students in developing a shared vision of a desirable future. Topics will include: robotics and artificial intelligence, quantum, nano, and bio-technology, future energy sources, and mankind's possible future in space. The range of problems that our society will face in coming years will be discussed, with particular emphasis on the science behind issues such as global warming. Ethical dilemmas posed by technology will also be explored. Are there lines that we should not cross? The future isn't just something that happens but something that can and should be shaped by people with vision. There are almost infinite possibilities, but many of these could have unintended consequences, sometimes catastrophic ones. Choosing the correct path cannot be left entirely to the scientists and technologists, or to politicians and entrepreneurs. The creative community should be at the forefront of developing a shared vision of a sustainable future.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

History of Graphic Design I traces the development of visual communication from the first evidence of human image-making through the 19th century. The development of written systems of communication is emphasized, with particular attention paid to the evolution of letterform design from the Middle Ages through the Industrial Revolution. Social, scientific, and technological development are stressed. Image-making is considered through both history and semiotics. In-class and take-home essays are assigned to assist students' comprehension of the material.

Prerequisite: Take HMN-100 HUM-WRS or HMN-101 Take CUL-220
Course Credit: 3

History of Graphic Design II is a thematic exploration of communication design in the 20th and 21st centuries. Themes range from the affect of the world wars on society and culture in the west; the cross-influences of the early 20th century avant garde, popular culture, and design; and the effect of new media on communication in the late 20th and early 21st centuries . Also discussed are the role of the designer in the shaping of society and culture and the question of a "design ethics."

Prerequisite: Take CUL-230 Graphic Design History 1 and Take HMN-100 Writing Studio or HMN-101 Writing Studio Intensive
Course Credit: 3

Whether your interests lie in narrative, in archetype, in religion, in social and political organization, in the development of ?Western? ethics and mores, the collection of works that contain what we think of as mythology are indispensable resources to understanding some of the base material from which emerged European/American Civilization. In this course we will read some of the major works of Greek and Roman ?mythological? writing as well as look into the historical contexts that helped to create the stories that continue to vibrate in the minds and imaginations of we who are almost 3,000 years removed from the oldest of the texts.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Whether your interests lie in narrative, in archetype, in religion, in social and political organization, in the development of "Western" ethics and mores, the collection of works that contain what we think of as mythology are indispensable resources to understanding some of the base material from which emerged European/American Civilization. In this course we will read some of the major works of Greek and Roman mythological writing as well as look into the historical contexts that helped to create the stories that continue to vibrate in the minds and imaginations of we who are almost 3,000 years removed from the oldest of the texts.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

Each section will have a unique description.

Prerequisite: n/a
Course Credit: 3

Interaction design and digital technology are changing the way humans relate to everything from games, to relationships, to work. Designers of digital technology products no longer regard their job as designing a physical object--beautiful or utilitarian--but as designing our interactions with it. This class introduces influential designers, industry history from human's first tools, through the industrial revolution to computer-supported tools of Interaction design in effective communication. Charting the history of entrepreneurial design in technology through practitioner/scholars such as Bill Moggridge, students will see how their own design process, focusing on people and prototypes, prepares them for emerging technologies, social change and the future of human interactions. Sections include analogue, mobile devices, and patterns of technology adoption, play, service design, critical design, and ubiquitous computation.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course explores the multifaceted nature of urban, public, and private spaces, paying special attention to the sociopolitical, cultural, and economic forces that shape our built environments. We will review a range of scholarship from various academic disciplines and intellectual spheres, but remain focused on the realm of design and particular design products that provide us with a framework to understand the context within which particular spatial and design outcomes are observed. Aiming to contextualize various phases of design and spatial strategies since the late 18th century, we will pay particular attention to the entirety of forces that "produce" space, recognizing that gender, culture, and the everyday life of cities must be considered and evaluated against various theoretical and ideological perspectives. A number of assigned book chapters and literary works will also help us discover the importance of the spatial narrative in constructing identities and how we come to interpret and construct the places of our existence. Interior and exterior spaces, exhibits, entertainment spaces, bars, cafes, sites of collections (e.g., museums), and many other realms that define and are affected by design must be analyzed in order for us to understand, albeit in an ephemeral manner, the forces that shape what we call our spatial experience.

Prerequisite: Take HMN-100 Writing Studio,or HMN-101 Writing Studio Intensive, or Pass the Writing Placement Exam and CUL-206 History and Theory of Space 1
Course Credit: 3

This course focuses on the social production of space within a historical context, offering an in-depth analysis of spatial dynamics in various societies across times and places. Using multiple analytical lenses, students will become familiar with how space is conceptualized and how its structure is informed or produced by social, cultural, economic, and political forces. In re-examining various design concepts, from antiquity to the present time, and from Asia and Africa to Europe and North America, students will be exposed to spatial processes that are affected by our purposeful functional organization and aesthetic sensibilities.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

The class is intended to help expand the student's appreciation for the field of advertising and publicity by establishing an historical context on which to build a solid understanding of advertising's role in the development and reflection of society. Through lectures, readings, guest speakers and exams, students expand their awareness of historical events as well as hone their ability to recognize conceptual and stylistic trends from the past. Extensive slide presentations support the lectures and visually enhance the readings.
- Students are enlightened regarding advertising's contribution to society, good and bad, and develop an appreciation for the art form as it has evolved over time. - Three examinations are given during the term, which address the content of lectures and readings/handouts. The exams emphasizes milestones in American advertising history in addition to drawing correlations between advertising strategies and society reflected in advertising. - Students are able to identify and connect outstanding work with specific agencies and art directors. Stylistic trends are connected to specific periods, and other related fields such as graphic design and fine art are shown to be influences on advertising. - Students receive a variety of reading materials and are required to read all handouts. Additionally, an extensive reading list is supplied for future and supplemental reading. - Advertising students in particular can find immediate uses for this course as they solve problems in the studio advertising classes and re-interpret the historical material into new ways of addressing the promotion of products and services in the agency environment. - With a clearer understanding of social evolution reflected in history, students can more fully appreciate the impact and influence of advertising towards a more sensitive medium regarding women, minorities and the social responsibility of the medium generally.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

Beginning with the Paleolithic and Neolithic periods and extending into the High Renaissance, we will examine the interrelationships between the production and consumption of art, and science and religion. How have the latter influenced the former? What roles have religious institutions and scientific discoveries had on artists and designers? How have artists and designers responded to the demands of religions institutions and the discoveries of scientists?

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

Students in the course will examine the diversity of artistic production (painting, sculpture, and architecture, among others) in Europe during the 15th to the late 19th centuries, a time of tremendous historical change. They will analyze the ideas and values encoded in the most significant works of art to arise from this period by considering the social, cultural, and political circumstances in which these objects were produced and understood. Students will explore not only how objects were shaped by the society in which they were made but also how art contributed to social and political transformation. The required text will provide the chronological bearings, historical background, and images for the course.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

Students will engage with the history of visual culture in the second half of the twentieth century with an eye to how the conventions of artistic practice, its criticism, and its exhibition change during this era. We will consider a variety of media including painting, photography, film, performance, sculpture, and installation and will examine the shifting roles of each in the realm of contemporary culture. We will also investigate the changing significance of terms such as ?Modernism,? ?avant-garde,? and ?author? within the social and cultural realm. During all of this, we will remain focused on the always-changing political realm over the past sixty years, including the trauma of one World War, the Cold War, the various liberation movements starting in the 1960s, the dissolution of the Communist Bloc and the AIDS crisis in addition to the ever-growing late-capitalist globalization we continue to experience today.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

This course will engage with the histories of the visual arts in the second half of the twentieth century. It pays particular attention to how the conventions of artistic practices, critical approaches, and exhibition strategies change during this era, and how these changes relate to larger social and cultural experiences. We will consider a variety of media including painting, photography, film, performance, sculpture, and video and will examine the shifting roles of each in relation to the present. Each term, the Contemporary Art and Its Histories will focus on specific aspects of this varied material to provide more depth to the breadth of our conversation. Course may be taken for credit more than once under different subjects.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course will examine the evolution of automobile design. The class will learn about the development of the car industry and at what point design, as we know it, became an important part of the development of cars. The historic development of the design process will also be looked at along with significant automotive and industrial designers that have influenced car design. During the term, many cars, throughout automotive history will be discussed and reviewed from the mundane to the exotic. Special emphasis and discussion will be given to those that have proved to be particularly influential on subsequent designs and also those that have remained design icons. Although analysis of their design will be an important part of the course, their industrial, social and commercial significance will also be considered.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Through an intensive examination of high points of world cinema, from its beginnings until 1941, students will explore how aesthetic and technical developments established, defined, refined and changed the medium in the context of historical, cultural, political and socio-economic determinants. This course will examine the ideas, implications and ramifications of important trends, movements, styles, genres, theories and directors. Finally, through intensive analyses of the ways in which the formal elements of moving images are manipulated for expressive purposes, students will learn how to really "see" and more fully experience the potential of cinema.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

Students explore how the aesthetic and technical development of the cinema (from its beginnings until 1941) established, defined, refined and changed the nature of the medium and the way we see, in the context of historical, cultural, political and socio-economic determinants. Students also examine the ideas, implications and ramifications of important trends, movements, styles, genres, theories and directors. Finally, through intensive analytical analyses of the ways in which the formal elements of design of the image are manipulated for expressive purposes, students learn how to really ?see? and more fully experience the full potential of the cinema.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

Explore how the aesthetic and technical development of the cinema (from 1941 to the present) defined, refined and changed the nature of the medium and the way we see in the context of historical, cultural, political and socio-economic determinants/influences. This course will also examine the ideas, implications and ramifications of important trends, movements, styles, genres, theories and directors. Finally, through intensive analytical analyses of the ways in which the formal elements of design of the image are manipulated for expressive purposes, learn how to really "see" and more fully experience the full potential of cinema.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: Take HUM-100 Writing Studio
Course Credit: 3

Students explore how the aesthetic and technical development of the cinema (from 1941 to the present) defined, refined and changed the nature of the medium and the way we see, in the context of historical, cultural, political and socio-economic determinants/influences. Students also examine the ideas, implications and ramifications of important trends, movements, styles, genres, theories, and directors. Finally, through intensive analytical analyses of the ways in which the formal elements of design of the image are manipulated for expressive purposes, students learn how to really ?see? and more fully experience the full potential of the cinema

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

This course examines the history of illustration, from the printed works of the Renaissance old masters, through the ?golden age? of American illustration, to today?s new media imagery. Students will compare the creative works of more than 100 illustrators and fine artists and analyze how illustration has redefined both its boundaries and functions in mass media. Class discussion topics include: artistic innovations, visual literacy, aesthetic theories and the relationship between fine art and illustration.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

History of Industrial Design provides a basic understanding of the movements, ideas and events of industrial design history over the past 150 years. This course will serve as a foundation for a life well spent in the practice of design, revealing, through study of past masters, how the profession has evolved to its present state, as well as where it is going.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course will examine the technical, socio-political, and aesthetic aspects of photography from the 1820's to the present.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

This academic course offers a thematic survey of historical and contemporary issues pertaining to the photograph as document. Through readings of critical texts, slide presentations, movies and a field trip, students will examine the aesthetics and theories of several different ways of considering the ways that photography is used to document events and ideas, as well as contrasting modes of constructed representations to depict similar subjects. The class will examine the different ways in which meaning has been constructed in the photographic image, and how it has been used in society. Some topical themes include: war photography, photojournalism, landscape and travel photography, the decisive moment, New Vision, Modernism, and Post Modernism.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

Entertainment Design develops student's ability to conceptualize and express creative ideas related to stories and experiences.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

This course will familiarize students with general human factors principles that are at the heart of any effective design. Students will be introduced to areas of human performance, cognition, ergonomics, memory and behavior and taught how to apply these to the design process. Extensive reading assignments, in-class and take-home projects will expose students to a variety of human factors theories and design examples. Two group projects are required and these allow the students to apply these principles that they have learned in class and through their course reading and assignments.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

This course will familiarize students with general human factors principles that are at the heart of any effective design. Students will be introduced to areas of human performance, cognition, ergonomics, memory and behavior, and taught how to apply these to the design process. Extensive reading assignments and in-class and take-home projects will expose students to a variety of human factors theories and design examples. Two group projects are required, allowing students to apply the principles that they have learned in class and through their course reading and assignments.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: HUM-100X Writing Studio, or completion of a college-level English composition course with a grade of B or better.
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

This course introduces students to numerous aspects of illumination, from the practical to the conceptual, and from the creative to the technological. We will survey the history, technology, and design of lighting through both research and hands-on experimentation. Field trips, lectures, readings, and guest presentations will cover topics including: Optics, basic circuits + electrical wiring; Technologies, such as LEDs, fiber-optics, CCFLs, EL and Neon; Lighting in space, sculpture, and products; History & theory of color, artificial illumination and day lighting; The affect of light on neurology & psychology; Retail, commercial, and residential lighting strategies.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

A class for anyone interested in gardens, either to create them or to represent them in any medium. Gardens tell stories in the language of plants and forms, in this class you will learn to read them. While walking through gardens we will uncover the lineage of form in their design. You will never see the landscape around you in the same way again. Course work consists of readings, a comprehensive visual and textual journal of your garden visits, and a final presentation or paper. (3 credits)

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Prerequisite: Take HUM-100 Writing Studio, HUM-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

One on one specialized study

Prerequisite: n/a
Course Credit: 3

Prerequisite: Take HUM-100 Writing Studio, HUM-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Prerequisite: Take HUM-100 Writing Studio, HUM-101 Writing Studio: Intensive or Pass Writing Prof Test
Course Credit: 3

As the role of the designer continues to evolve and becomes more holistic and multi-disciplinary, it is essential that we develop the ability to think strategically about the markets that we are designing for. The premise of this course is to learn how to become insightful about the world around us by developing the strategic skills to translate information into innovative opportunities and to become effective storytellers. One of the ways that we can give meaningful context for the products and experiences that we create is to demonstrate that we have an in-depth understanding of what is going on the in the real world today and how that translates into opportunities for the future; depending on geographical context, the same trend can have different manifestations and implications. This class introduces the process of trend research, analysis and articulation into potential design and business opportunities by understanding consumer technology and design trends that impact our world and how we, as designers, can respond to those trends in the future. INSIGHTS is a course that has been built around industry practice, from corporations like Nokia, Nike, Target and Apple that have dedicated "Design Insights' teams within their organizations; to consultancies that specialize in providing meaningful insight and trend information to their clients, later translated it into innovative product strategies and brand experiences. For this class you will focus on researching one topic by learning and following a specific process. At the end of the class you will prepare a visual communication piece summarizing your findings and pointing out the potential design and business opportunities to follow.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

"Insights" is a co-requisite of the 6th term transportation design studio. This class guides designers in the creation of innovative vehicle concepts based on a strong foundation of research. Designers learn how to create compelling conceptual frameworks for their concepts, driven by unique insights and articulated in a thoughtful, meaningful context. Since this class responds to a new sponsor brief each term, our focus is customized for each project. However, our process remains constant. We employ a range of design research methodologies (primary and secondary) including observation, photo documentation, ethnography, interviews, and trend tracking & forecasting, among others. We keep the human story at the center of what we do, while considering broader trends that impact culture. Emphasis is placed on the creation of unique insights and compelling design criteria to inform the design process. Our work is closely coordinated and integrated with the design curriculum in the 6th term studio class. (3 credits)

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Course type: Social science elective
Description: Class will cover the basics of intellectual property law as it applies to designers & artists, including copyright, trademark, patent, publishing music rights, law of Advertising and more. Students will gain a basic understanding of intellectual property laws, and how to use them to protect their works and their rights in creating, licensing, and selling.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course examines the ideas of 20th century designers such as Walter Gropius, Mies van der Rohe, Le Corbusier, and Ettore Sottsass, as well as design movements such as art nouveau, art deco, internationalism, brutalism and postmodernism.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

This course introduces the theories and philosophies of modern design, which are usually considered in the context of the applied arts, engineering, architecture, and other such creative endeavors. The aim is to better understand design by way of discussion of the topics in the course.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

The class will explore, discuss, analyze, and compare various aspects of modernist culture including the visual arts, design and architecture, film, the performing arts, music, literature, science and technology, and provide an historical perspective and critical insight into the political, social, and philosophical dynamics of the era, and its relevance to our current time.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Introduction to Robotics offers you the opportunity to explore the increasing role of automated mechanisms in our world and learn what it takes to build your own robots. This course is part survey, part technical application. Hands-on robot designing and building figures strongly as we encounter topics through team "design challenges," in which we see what makes up a robot and investigate ways to control them to do what we want.

Content is accessible to all - no experience necessary.

Prerequisite: Take HUM/HMN-100 Writing Studio or HUM/HMN-101 Writing Studio: Intensive
Course Credit: 3

This course provides an introduction to the interdisciplinary relationships among the arts, intellectual and scientific thought, technological progress, and social and political events from the mid-19th century through the 1960s. Through extensive visual material, primary source texts and class discussion, this course examines the changing perceptions of reality and the corresponding modes of representation in the visual arts, performing arts and literary arts in the modern industrial age.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: HMN-100X Writing Studio or completion of a college-level English composition course with a grade of B or better.
Course Credit: 3

This course introduces and elaborates on three important elements of traditional Japanese aesthetics, using Japanese art and literature as examples. "Wabi-Sabi," the basic element of Japanese aesthetics. "Ma," which is linguistically translated as the distance between two objects, two spaces, or a break in modern meaning. Finally, "Kan," which could be loosely translated to mean "the sixth sense," or intuition, which Japanese artists and craftsmen trust and upon which they rely for their inspiration. Through usage of their own work as examples, students will be exposed to new ways of thinking about aesthetics, as they are introduced to some options to the current Western modernistic approach with which they are already familiar with. An understanding of the three elements (Wabi-Sabi, Ma and Kan) in their infinite variations and combinations could be very useful for an honest examination of the philosophy of beauty.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course will introduce and elaborate on three important elements of traditional Japanese aesthetics-Wabi-San, Ma and Kan-using Japanese art and literature as examples. An understanding of these three elements in their infinite variations and combinations will bring insight to the examination of the philosophy of beauty and will provide a new perspective from which students can evaluate their own work.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

Jive Globalism: Cross-Cultural Media, Globalization, and Postcolonial Thought Why were modern European artists so interested in non-European cultures? What are the differences between ethnographic film, third cinema, and documentary? And how does the history of colonialism relate to humanitarian design initiatives today? This course will examine the concept of intercultural communication as it relates to our work as creative professionals in an increasingly globalized world. We will explore a variety of texts and media that examine cross-cultural encounters in the histories of design, film, fine art, and photography, with an emphasis on their relation to colonial frameworks. Students will become familiar with debates surrounding the history of globalization, as well as the social and political underpinnings of cross-cultural exchange. The course will culminate in each student producing an independent research project in any medium, accompanied by a brief piece of analytical writing.

Prerequisite: Take HMN-100 Writing Studio HMN-101 Writing Studio:Intensive orPassed Writing Prof Test
Course Credit: 3

Jive Globalism: Cross-Cultural Media, Globalization, and Postcolonial Thought Why were modern European artists so interested in non-European cultures? What are the differences between ethnographic film, third cinema, and documentary? And how does the history of colonialism relate to humanitarian design initiatives today? This course will examine the concept of intercultural communication as it relates to our work as creative professionals in an increasingly globalized world. We will explore a variety of texts and media that examine cross-cultural encounters in the histories of design, film, fine art, and photography, with an emphasis on their relation to colonial frameworks. Students will become familiar with debates surrounding the history of globalization, as well as the social and political underpinnings of cross-cultural exchange. The course will culminate in each student producing an independent research project in any medium, accompanied by a brief piece of analytical writing.

Prerequisite: HMN-100 HUM-WRS or HMN-101;
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

This is a one semester exchange program with Konstfack University of the Arts, Crafts, and Design in Stockholm, Sweden. By Permission Only. 12 Cr

Prerequisite: n/a
Course Credit: 12

This is an assessment course in which the student is asked to write an essay related to a team project and then make a presentation on the project. The student will then be placed in the appropriate Writing Studio, Writing Studio: Intensive, or English as a Second Language section for further development of written and verbal communication skills.

Prerequisite: n/a
Course Credit: 3

Everyone wants to know about color: ?Why is the sky blue??, ?Why is blood red??, ?Why is the sun yellow??, and ?Why does a blood-red sun, setting in a deep blue sky, occasionally turn green??. That is, all of the good stuff that any 6-year old would like to know. Light and Color starts out with a history of light, starting out with mystical representations of light and vision in ancient Greece and ending up with the strange quantum duality of particles and waves. From there we will shift to a more classical approach and to scattering and why sunsets are red and the sky is blue. The selective absorption of light by electrons explains CMYK colors, paints, dyes, and many filters. Interference provides the reasons behind Newton?s rings, oil spot colors, dichroic filters, and explains holographic images. Fiber optics, polarization, and liquid crystal dis-plays will also be covered, as will color TV. From the properties of light waves, we will move on to refraction and lenses. How are images formed in cameras? What does stopping down an aperture do? What causes depth of field? What are lens aberrations and how are they reduced? Rainbows and why the setting sun flashes green. There will be one major class project: designing and experimenting with an advanced pinhole camera. For example, what happens when one curves the film, makes several pinholes, or puts mirrors in the camera? Can one take 360-degree photographs? Pinhole cameras are ideal because while they are at once simple in concept, they utilize many optics concepts and offer unparalleled opportunities for experimentation and artistic exploration.? They are also more technically challenging than they first appear to be.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

This class will explore performance concepts from real time/space to virtual space, physical space to media space, from art contexts to YouTube. including the evolution of performance art from its historical roots to the role and influence of performance in contemporary culture. Class will include field trips with follow-up critical discussion and writing, and weekly performance presentations. We will examine all the components of performance - objects, images, text, movement, light, sound, action, space, time, site - and various ways to tell a story through a wide range of media and topics. Students will develop collaboration, improvisation, and presentation skills along with critical analyses. Final production.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This Spring Term Study Abroad class for credit will start in January and will conclude with 3 weeks in London over Spring Break where students working in the studio there will finalize an Olympic themed project, produce posters, and install the work as part of a dedicated Art Center group show opening for the first time in a celebrated London gallery specializing in design and illustration. Students will also experience amazing visits with Sir Paul Smith, the designers of the 2012 Olympic Logo and targeted cultural institutions, representing Britains unique take on this global event. OPEN TO ALL MAJORS WITH 3.00 GPA AND ABOVE Application for this class is by portfoloio and interview only. Students will be responsible for related expenses.

Prerequisite: n/a
Course Credit: 3

Los Angeles was a postmodern city by 1890, and has remained for generations what historian Norman Klein calls "the most photographed and least remembered city in the world." Even today, its layers, microclimates, bizarre planning and ethnic and cultural contradictions remain as fierce as ever. This class traces the historical trends that have shaped these contradictions.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

L.A. was a postmodern city by 1890, and has remained for generations "the most photographed and least remembered city in the world." Students in this class will trace the historical trends that have shaped these contradictions.

Prerequisite: Take HUM-100 Writing Studio, HUM-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

This course introduces the student to the many universal plastic materials and fabrication processes currently used in design and product development. The student will learn how to recognize and evaluate materials and processes that influence product development. They will also learn to do basic cost estimating relating to different processes and model making aspects.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Almost all writing involves some sort of narrative. So does film, illustration, advertising, photography, and fine art (among other disciplines). This course will look at narrative as a group of strategies that can be applied to various literary genres (i.e. fiction, poetry, screenwriting, etc.) or to work outside of traditional genres in the formation of new or alternative modes of story telling or message-bringing. We will look at ?traditional? and ?experimental? uses of narrative as used in language, and then try our own hands at writing through and with the strategies we examine (and, possibly move beyond them). We will also look at examples of work within the categories of Art Center?s various disciplines to see how narrative is used in them and consider what kind of recombinant possibilities might be explored. In both what we read and what we write, we will focus on four main narrative types: Linear Narrative, Nonlinear Narrative, Lyrical Narrative and Fragmented Narrative.


Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Narrative Structure will take the same approach as Critical Practice I, which provides a basic visual vocabulary or rhetoric, to different areas of focus, such as different film genres, contemporary art, television, the Internet media, and many others, based on the expertise of the instructor.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Seeing, visualizing, and dreaming are closely related: they are all three perceptual experiences. In this course we will explore various aspects of what is known about visual imagination (visualizing). The neurological mechanisms of visual imagination give a good foundation to compare and contrast imagination with other visual experiences. As often in neurology, we can learn from various brain scan studies, as well as from brain lesion studies. This allows for examination of both normal visualizing and disorders of visualizing. Psychological studies investigate the role of visualizing and like other forms of imagination in cognition. And visualizing is a private experience, we consistently also need to look at phenomenological analyses, and compare this with our own first person knowledge. Finally, we will explore what happens when we externalize visualizing in the forms of sketching, drawing or painting.

Prerequisite: Take HMN-100 Writing Studio,or HMN-101 Writing Studio Intensive, or Pass the Writing Placement Exam;
Course Credit: 3

Seeing, visualizing and dreaming are closely related-they are all perceptual experiences. This course will explore various aspects of visual imagination. We will use the neurological mechanisms of visual imagination to compare and contrast imagination with other visual experiences. Brain scan and brain lesion studies allow us to examine visualizing both in its normal state and in its disorders. Psychological studies will help us investigate the role of visualizing and other forms of imagination in cognition. And since visualizing is a private experience, we will look at phenomenological analyses and compare them with first-person knowledge. This course will also explore what happens when we externalize the visual imagination in sketching, drawing or painting.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

With neuroscientists blazing the trail to understanding the neurobiology of human perception and computational technologists crunching the numbers to create new means of neuroimaging, artists are compelled to ask new and different kinds of questions about their own engaged process of looking, seeing and doing. Pivoting on the Allosphere research conducted by the Art, Media and Technology team at UC Santa Barbara, Neurons Sparking! introduces students to the continuum of intellectual and art histories and theories that enrich today's art and biotech practices. Strong consideration will be given to the early modern artists -- Monet, Seurat, Cezanne --in light of their interests in science and technology of their day. To ground our discussion in contemporary context, we will visit the Allosphere and with our minds and brains challenged by new research into synesthesia and computational abstraction, we take up an informed discussion of perception in 21c. Additional viewing will include works by artists who currently reinvestigate perception from phenomenological and neuro-aesthetic points of view. Course readings will include works by key authors, past and present: Kant, Bergson, James, Ramachandran, Zeki, Varela, Le Doux and Stafford.

Prerequisite: Take HMN-100 Writing Studio or HMN-101 Writing Studio Intensive.
Course Credit: 3

With neuroscientists blazing the trail to understanding the neurobiology of human perception and computational technologists crunching the numbers to create new means of neuroimaging, artists are compelled to ask new and different kinds of questions about their own engaged process of looking, seeing and doing. Pivoting on the Allosphere research conducted by the Art, Media and Technology team at UC Santa Barbara, Neurons Sparking! introduces students to the continuum of intellectual and art histories and theories that enrich today's art and biotech practices. Strong consideration will be given to the early modern artists -- Monet, Seurat, Cezanne --in light of their interests in science and technology of their day. To ground our discussion in contemporary context, we will visit the Allosphere and with our minds and brains challenged by new research into synesthesia and computational abstraction, we take up an informed discussion of perception in 21c. Additional viewing will include works by artists who currently reinvestigate perception from phenomenological and neuro-aesthetic points of view. Course readings will include works by key authors, past and present: Kant, Bergson, James, Ramachandran, Zeki, Varela, Le Doux and Stafford.

Prerequisite: Take HMN-100 Writing Studio or HMN-101 Writing Studio Intensive.
Course Credit: 3

Our society values creativity in technological invention, commercial competition, and artistic production. This course takes a critical look at the faith in creativity as a cure for contemporary problems. We will examine its origins and implications, asking who benefits in the short and long term. We will consider how certain researchers believe creativity can be taught and explore what it means to work in the global creative industries today.

Prerequisite: Take HMN-100 Writing Studio or HMN-101 Writing Studion Intensive.
Course Credit: 3

Our society values creativity in technological invention, commercial competition, and artistic production. This course takes a critical look at the faith in creativity as a cure for contemporary problems. We will examine its origins and implications, asking who benefits in the short and long term. We will consider how certain researchers believe creativity can be taught and explore what it means to work in the global creative industries today.

Prerequisite: Take HMN-100 Writing Studio or HMN-101 Writing Studion Intensive.
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

This course will examine the arts and ethics of friendship, love, gender, and sex from a philosophical and aesthetic perspective, using both historical and contemporary sources. Special attention will be given to the complicated role of sexual desire and gender identity in contemporary advertising, art, and design, and we will question whether the arts are complicit in the gendering of social and personal space. We will tackle often uncomfortable issues surrounding childhood sexuality, intersexuality, perversion, prostitution, pornography, marriage, religion, and moral obligation. While the course will touch upon traditional issues in academic gender studies (feminism, queer theory, the 'social construction' of sexuality), we above all will grapple with the murky lines between friendship, sex, and love (love of self, love of others, even the love of God). The course will require ongoing student participation in a seminar-like setting and will include lectures, guest speakers, class discussion, and debate. Students will be required to write two short papers and prepare regular presentations to the class.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This class is designed to be an interesting introduction to ocean science. Students will explore and derive a deeper understanding or our planet's largest feature, the ocean, its origin and its uniqueness. The class investigates the ocean as a significant influence in our everyday lives. The students will learn that the ocean has a sensitive interconnectedness between the delicate biological balances and physical driving forces; as well as our everyday life-style choices and activities that profoundly impact the ocean. It is for the student who is curious about the ocean, yet who may have little or no formal background in science.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

This class is designed to be an interesting introduction to ocean science. Students will explore and derive a deeper understanding or our planet's largest feature, the ocean, its origin and its uniqueness. The class investigates the ocean as a significant influence in our everyday lives. The students will learn that the ocean has a sensitive interconnectedness between the delicate biological balances and physical driving forces; as well as our everyday life-style choices and activities that profoundly impact the ocean. It is for the student who is curious about the ocean, yet who may have little or no formal background in science.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Course is designed to give students a better understanding of the Pacific Rim; it is political, economic & cultural background in general & of Far East Asia in particular. Course material covers mainland China, Taiwan, Hong Kong, Japan, Korea, Singapore, Malaysia, Thailand, Indonesia, & Vietnam.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course is designed to give students a better understanding of the political, economic and cultural background of the Pacific Rim in general, and of Far East Asia in particular. Course material covers mainland China, Taiwan, Hong Kong, Japan, Korea, Singapore, Malaysia, Thailand, Indonesia and Vietnam.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

Prerequisite: Take HUM-100 Writing Studio, HUM-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 0

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

This academic course will introduce you to new ways of understanding the modern city as a dynamic-rather than static-entity. It will focus on how cities and regions are conceived, how they function, thrive, move, and sometimes fail. Early suburban utopias, contemporary edge cities, squatter cities of the South, and the shrinking cities of the North will all be analyzed. Readings and discussions will emphasize mobility, and often times the lack of it. In short, this course will serve as a primer for the problems and challenges associated with the built environment and its integrated and overlapping systems that require great expense to be built, maintained and changed.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: Writing Studio or completion of a college-level English composition with a grade of B or better. Transferable (see REGISTRATION INFO-COURSE CREDIT for details).
Course Credit: 3

Perpetual Motion: The Future of the Moving City is a course that will introduce new ways of understanding the modern city as a dynamic rather than static entity. The course will focus on how cities and regions are conceived, how they function, thrive, move, and sometimes fail. Early suburban utopias, contemporary edge cities, squatter cities of the south, and the shrinking cities of the north will all be analyzed. The emphasis will always be on mobility, and often times the lack of it. In short, this course will serve as a primer for the problems and challenges associated with the built environment and its integrated and overlapping systems that require great expense to be built, maintained, and changed.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course studies human biology within the framework of evolution with an emphasis on primates, primate behavior and evolution, leading to human evolution and changing ancestral human physiology as evidenced by the fossil record.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course studies human biology within the framework of evolution. The emphasis is on primates, primate behavior and evolution, leading to human evolution, as well as changing ancestral human physiology as evidenced by the fossil record.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 12

Over the course of the last 4,000 years, civilizations have risen and fallen because of disease. From the Biblical Plagues to The Black Death, from Leprosy to AIDS, our diseases have defined us. Sometimes plagues have been anticipated, and sometimes they have swept down upon us unannounced and unexpected. The least expected plagues are likened to wildfires, flaming to life and burning everything that they touch. Careful analyses of these diseases, however, indicate that they are not completely unexpected. Not only are our civilizations defined by disease, we often get the diseases which our societies deserve. Global trade brought Plague from Eurasia and Syphilis from the new world. The cannibalistic consumption of wild animals created AIDS and Mad Cow disease. Air conditioning spread legionnaires, a wet summer unleashed Sin Nombre upon the southwest, and feedlots created toxic E. coli. Sometimes, the result is personal suffering and sometimes the result is a total collapse of civilization. This class is an exploration of how societal practices create (and eliminate) diseases. We will start with the Plague of Athens, which helped to destroy the Greek empire and follow different diseases across both geography and time. In many cases, causes can be found for both the appearance and the disappearance of disease. This information will be of great value to any one who designs or plans for the urban environment.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course explores the production and consumption of popular culture in the United States, focusing on film, comic books, and music. It starts with the transformation of America?s economy and society after World War II and follows the interplay of politics and pop culture through the 1990?s. The syllabus is organized chronologically around specific genres and texts, with readings drawn from sociology, history, and cultural studies.

Prerequisite: Take HUM-100 Writing Studio, HUM-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

From Sid and Nancy to the scarecrow in the Whiz we will observe and research what really is at stake when youth culture wants to fly from the not so safe home nest and enter into a world where money and production are accelerated. The rise and fall of youth wishes for economic success in pop culture industry will be explored through the musicals of cinema since the 1960146s. Both features and documentaries will be explored and viewed to question and dissect what is at the core of these narratives and cinematic structures. What and how are these musicals structured and what kind of differences occurs from genres of music explored? What are similarities and differences in Rock and Roll, Rhythm and Blues, Disco, Punk, Rap and Retro? Where was youth culture in the 60146s, 70146s, 80146s and 90146s and where is it now? What are visuals to music and what were the historical precedents to music and its relationship of sound to image in cinema? When were music and its visuals political and when is it not? The course will include the viewing of this genre of cinema and will comprise that the students research and write 2 papers and will also prepare a short filmography that would include their own curation of the topic with surrounding options for topics to this genre.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Presentation and Career Preparation concentrates on the transition you will ultimately make from a student to a business professional. This class emphasizes the necessity for you to have strong presentation skills and gives you the confidence to promote your ideas coherently and convincingly. Classes are designed to address the real world issues you will encounter as you present your portfolio, go on job interviews, negotiate salaries, interview for freelance assignments, network, pitch your concepts and make proposals. You will participate in videotaped mock interviews with industry professionals and gain the self-assurance necessary to organize, edit and deliver effective business presentations.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Success as an artist, and "making it" in the art world, are not necessarily the same thing, and the pursuit of art today can sometimes seem like a capricious and daunting endeavor. There is clearly no one path or plan that serves all artist's aspirations or guarantees success. One chooses a life in art invariably because it is an extraordinarily gratifying enterprise. This course presents practical advice for artists that can aid one in achieving the various satisfactions derived from a life in art. Some of the topics explored include: appropriate tools for documenting your achievements and assessing your objectives; choosing a graduate school; setting up a studio; putting together a professional portfolio & resume; project proposals & artist statements; foundations, grants, & Artist-In-Residence programs; legal Issues, contracts & copyrights; finances, accounting & bookkeeping for artists; the marketplace, art sales, commissions, art consultants, consignments, representation & galleries; exhibition opportunities, alternative spaces & museums; critics, curators & collectors; art teaching & academia; and what skills you will need for various art related employment options. Class discussions will also touch on how best to deal with the inevitable challenges of being a working artist - pressures, motivation, competition and rejection. This course will present an overview of the numerous opportunities that exist today for artists, and strategies for accomplishing your dreams.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Professional Practice Conversion Credit

Prerequisite: n/a
Course Credit: 3

In this class students learn how the practice of interaction design engages other designers, business/marketing professionals, artists, and technologists across various disciplines. Student will learn how to effectively strategize, communicate and develop their ideas for social and business entrepreneurship, consulting and studio sectors. Practical exercises in pitching, portfolio development, designing communication collateral and working with clients prepare students for professional practice. Visiting guest and studio visits will cover topics such as intellectual property, venture capital and social innovation.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Building on Professional Practice 1 for Interaction Design, this class supports and guides students as they develop their own portfolio, professional direction and communication skills.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This class will begin preparing students for the presentation of themselves as professional photographers and of their work. Students will work on a variety of presentations, speaking about both their own work as well as that of other artists and topics. The class will develop research skills, speaking skills and the variety of venues and new media for presenting their work to both prospective clients and the public as well as beginning the practice of constructive critique.

Prerequisite: Take HMN-100 HUM-WRS or HMN-101
Course Credit: 3

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 0

The information in this class is as vital to a practicing artist as knowledge of surgical instruments and pharmaceuticals are to a surgeon. We will explore the physical and chemical properties of artist's materials, both common and uncommon, and how to select the right tools for the job. We will cover fine art, graphic art, and illustration materials such as drawing materials, painting materials and mediums, pigments, electronic print media, papers and boards, canvases and supports, brushes, framing and storage, as well as how to avoid creating self-destruct art and most importantly, how to protect yourself from exposure to hazardous materials.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

A lack of knowledge of artistic materials is one of the greatest obstacles to creativity and a successful art career. This course will discuss the physical and chemical properties of Western and Eastern art materials and how to select the right tool for the job. Learn how to create a lasting work of art while protecting your health, and how to unlock creativity using a vast array of materials, and hot to create a lasting work of art while protecting your health.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

RADICAL GREEN: PROBING THE EXTREMES OF ENVIRONMENTAL THOUGHT This course is designed to introduce students to some of the more extreme environmental philosophies, ethical concerns, and underlying perceptions of 145wilderness,146 145wildness,146 and 145nature146 that have developed over the past hundred years. From John Muir, Aldo Leopold, and early twentieth-century conservation movements, to Deep Ecology and Earth First!, the course will attempt to unpack, explore, and redefine the varied assumptions and foundations of the contemporary sustainability issue and the greening of our present culture. Through readings and discussion, students will gain an understanding of these past and present schools of thought, and their related environmental movements, that have fundamentally challenged and shaped our notions about the role of the human in nature. Through the cultivation of critical environmental thinking skills, students will begin to construct their own philosophical approach and work on a course project that builds on the body of knowledge obtained throughout the term.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

RADICAL GREEN: PROBING THE EXTREMES OF ENVIRONMENTAL THOUGHT This course is designed to introduce students to some of the more extreme environmental philosophies, ethical concerns, and underlying perceptions of 145wilderness,146 145wildness,146 and 145nature146 that have developed over the past hundred years. From John Muir, Aldo Leopold, and early twentieth-century conservation movements, to Deep Ecology and Earth First!, the course will attempt to unpack, explore, and redefine the varied assumptions and foundations of the contemporary sustainability issue and the greening of our present culture. Through readings and discussion, students will gain an understanding of these past and present schools of thought, and their related environmental movements, that have fundamentally challenged and shaped our notions about the role of the human in nature. Through the cultivation of critical environmental thinking skills, students will begin to construct their own philosophical approach and work on a course project that builds on the body of knowledge obtained throughout the term.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Re-Viewing Postmodernism: From Appropriation to Identity Politics to the Public Sphere. Because theories and definitions of postmodernism have relied heavily on advances in the arts, this course will consider what is at stake with this designation for the fine arts themselves. Since the term "postmodern " denotes neither a style nor a cohesive critical theory in itself, this course is primarily a summary of the main threads that have come to be tied up in this historical "knot." Some questions we will ask are: Does the prefix "post-" signify a rejection of Modernism or a refinement of its general aims? How does the role of the viewer or consumer change within postmodernism? How do issues surrounding subjectivity (including race, gender, ethnicity, sexual orientation and national origin) relate to the postmodern? The course will proceed thematically, rather than strictly chronologically, by highlighting paradigmatic methodologies that have come to define postmodernism in the realm of visual culture. This will be achieved by a thorough study of the central critical texts on postmodernism. Ultimately, we will consider the ways these various political and theoretical debates have been taken up by practicing artists, thus blurring the boundaries between politics, theory and praxis.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

The Decade of the 1980s is only now being historicized. What kind of cultural products (art, fashion, music, films, TV, advertising) did the decade introduce? How did technology play a role in challenging our perceptions of reality? What were the Style wars? the Culture wars? How did market forces impact/change our vision of everyday life? Appropriation, parody, nostalgic play and the reconfiguration of historical forms and images were just some of the approaches used both in popular culture and in art. This class will examine the 80s as the starting point for cultural trends of the present? Were the seeds of today185s culture planted 30 years ago?

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or passed prof test
Course Credit: 3

Used to show converted SAP credit in the Colleague system.

Prerequisite: n/a
Course Credit: 3

Each section will have a unique description.

Prerequisite: n/a
Course Credit: 3

Scientific and social changes: which comes first? Science and technology tend not to advance in a very orderly, incremental way, but in sudden steps when a major scientific discovery enables new technologies, or the other way around. How do major revolutions in how we know the world change society and our worldview? The scientific method146s history and practice and a scientist146s view of uncertainty are tools anyone can use to analyze their own biases and assumptions about how the world works. Students will work through issues such as the 147best way148 to save an endangered bird population or to manage the effects of climate change, first from a science perspective and then from the point of view of policymakers. Students will find good visual ways to present scientific issues to non-scientists as part of these analyses.

Prerequisite: Take HMN-100 Writing Studio or HMN-101 Writing Studion Intensive.
Course Credit: 3

Scientific and social changes: which comes first? Science and technology tend not to advance in a very orderly, incremental way, but in sudden steps when a major scientific discovery enables new technologies, or the other way around. How do major revolutions in how we know the world change society and our worldview? The scientific method146s history and practice and a scientist146s view of uncertainty are tools anyone can use to analyze their own biases and assumptions about how the world works. Students will work through issues such as the 147best way148 to save an endangered bird population or to manage the effects of climate change, first from a science perspective and then from the point of view of policymakers. Students will find good visual ways to present scientific issues to non-scientists as part of these analyses.

Prerequisite: Take HMN-100 Writing Studio or HMN-101 Writing Studion Intensive.
Course Credit: 3

Over the next hundred years, mankind will find itself in a life or death race: Can we develop the technology needed to achieve a sustainable society before we deplete the Earth's resources or irrevocably damage the environment? This course explores the science of sustainability, including climate change, alternative energy, relationships between poverty and sustainability, and the future of the car.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

Over the next hundred years, mankind will find itself in a life or death race: Can we develop the technology needed to achieve a sustainable society before we deplete the earth146s resources, or irrevocably damage the environment? This course will explore the science of sustainability, including topics such as climate change, alternative energy, relationships between poverty and sustainability, and the future of the car.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course looks at the key elements that create a successful screenplay. Character, conflict and construction are examined in this practical class where writing exercises reinforce information that is introduced. Using film clips, discussions, and meeting with professionals in the business, you'll learn the way to create a successful screenplay.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

The Humanities & Sciences component of the Second Nature TDS will take an in depth view of the critical and historical traditions of nature. In particular we will consider the intertwined realities of nature and media that is landscape, ranging from gardens to Google Earth. Topics may include: enclosure, survey, decay, westerns, gender, agro industry, wasteland and biomimetics among others. Students will be expected to read and write each week in conjunction with their studio practice.

Prerequisite: n/a
Course Credit: 3

This seminar will cover the history of devices and applications used in visual culture, from 1500 to 2050. It will be a journey into "seeing things," as well as seeing machines, how these mechanisms responded to their moments, how they faked, revealed, transfigured, transmogrified. The subjects will include: examples from Renaissance camera obscura (and lucida) to early photography (19th century); examples of "subverted" perspective (anamorphosis, trompe l'oeil) in Baroque architecture and theater; the miniature and the hoax (including "follies," imaginary micro imagery); cinema from magic lanterns in 1650 to "industrial" cinema after 1895); optical printing from 1560 to 1990; mirrored "tricks with smoke and mirror (i.e. Pepper's Ghost); animation as the history of "the moving picture" since medieval carnival, puppetry); from industrial giganticism to nano miniatures today; and of course, the history of "pre"-analog as well as analog systems.

Prerequisite: n/a
Course Credit: 3

Two of the greatest pleasures on earth are reading short stories and writing them. Students in this class will spend the semester accomplishing both. The course will examine a wide variety of short fiction by such masters as Lydia Davis, Mary Gaitskill, Juan Rulfo, Flannery O'Connor, George Saunders, Denis Johnson, Donald Barthelme, Mona Simpson and many others.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

Students will learn a variety of short story techniques including Interior monologue/dramatic monologue, Letter Narration, Diary Narration, Memoir or Observer Narration, Biography or Anonymous Narration?Single Character Point of View, and Anonymous Narration?Dual character/multiple character/no character point of view, with the goal of writing at least one finished short story during the term.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensiv Intensive or Passed Writing Prof Test
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

See comments on Section. Each section has unique description.

Prerequisite: n/a
Course Credit: 3

See comments under Section. Each section has a unique description.

Prerequisite: n/a
Course Credit: 3

See comments under Section. Eac h section will have a unique description.

Prerequisite: n/a
Course Credit: 3

See comments under Section. Each section will have a unique description.

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Each section will have a unique description.

Prerequisite: n/a
Course Credit: 6

See comments on Section. Each section has unique description.

Prerequisite: n/a
Course Credit: 0

Sustainable Building Practices for Environmental Design This course provides students with a knowledge of structural, fabrication, environmental, and system requirements for spatial design coupled with an appreciation of associated materiality of these technologies as they are translated into building form, particularly in relation to environmental sustainability. It is intended that students not only be provided with a technological information base but also an understanding of the Environmental Design implications of these technologies. This course is taught in conjunction with Environmental Design: "ENV 254 Sustainability Design Studio". Students will conduct a LEED audit, of the project utilizing innovative software packages and an LCA of the primary components of the Project. We will be focusing on Net-Zero construction. Course goal is to build an understand as to what is necessary to achieve a Platinum level of certification on studio projects as well as responding critically to global ecological issues on all levels.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

Intensive cultural immersion into Japanese cultural practices, ranging from textiles to temples and religious context, to cross-cultural psychology, design theory, and historical perspective on Japanese craft. Japan's historical Arts & Crafts Cultures are built on their rich heritage, accomplishments and history, but how can a new future be formed without losing the identity of the past? At a time when cities & culture are changing so fast, how can the meaningful elements of a culture not be lost in the seductive pursuit of the future? One must think globally, but how do we not lose the essence of who we are? Where have we been? and Where should we go? How can we understand the complexities and influences of hundreds of years of craft and tradition and use those influences to fashion a new cutting edge direction. How can the cultural influences of the past add benefit to a new design process? How can materials and art forms of the past add to a richer future? In the last seventy years Japan has changed extremely fast. Japan's cities have grown at an amazing rate and its culture fiber is evolving on every level by the moment. What can Japan's design voice be? How can a design sensibility be developed which reflexes the richness of Japan's past, but at the same time defines a new direction for a Japanese design language for the future? Understanding the influences of the past, the complexities of current trends and an awareness of the human-centered needs of the population at large form a strong basis for a new global design vocabulary.

Prerequisite: n/a
Course Credit: 3

See comments on Section. Each section has unique description.

Prerequisite: n/a
Course Credit: 15

Project Focus: Our goal for this Studio Project is to explore design interventions focused on the relationship between craft and cutting edge design. We will be looking for opportunities to make improvements in the quality of life for contemporary consumers. How can we provide meaning enhancements to the needs and desires of a global economy, while respecting history, culture and heirloom? We will examine a wide range of possible applications from lighting, furniture, electronics and home product. Our students will envision solutions merging the history of craft with cutting edge future design. Our teams will be asked to improve the quality of life and design with an eye to the future.

Prerequisite: n/a
Course Credit: 3

Project Focus: Our goal for this Studio Project is to explore design interventions focused on the relationship between craft and cutting edge design. We will be looking for opportunities to make improvements in the quality of life for contemporary consumers. How can we provide meaning enhancements to the needs and desires of a global economy, while respecting history, culture and heirloom? We will examine a wide range of possible applications from lighting, furniture, electronics and home product. Our students will envision solutions merging the history of craft with cutting edge future design. Our teams will be asked to improve the quality of life and design with an eye to the future.

Prerequisite: n/a
Course Credit: 3

Project Focus: Our goal for this Studio Project is to explore design interventions focused on the relationship between craft and cutting edge design. We will be looking for opportunities to make improvements in the quality of life for contemporary consumers. How can we provide meaning enhancements to the needs and desires of a global economy, while respecting history, culture and heirloom? We will examine a wide range of possible applications from lighting, furniture, electronics and home product. Our students will envision solutions merging the history of craft with cutting edge future design. Our teams will be asked to improve the quality of life and design with an eye to the future.

Prerequisite: n/a
Course Credit: 3

Project Focus: Our goal for this Studio Project is to explore design interventions focused on the relationship between craft and cutting edge design. We will be looking for opportunities to make improvements in the quality of life for contemporary consumers. How can we provide meaning enhancements to the needs and desires of a global economy, while respecting history, culture and heirloom? We will examine a wide range of possible applications from lighting, furniture, electronics and home product. Our students will envision solutions merging the history of craft with cutting edge future design. Our teams will be asked to improve the quality of life and design with an eye to the future.

Prerequisite: n/a
Course Credit: 3

Japan's historical Arts & Crafts Cultures are built on their rich heritage, accomplishments and history, but how can a new future be formed without losing the identity of the past? At a time when cities & culture are changing so fast, how can the meaningful elements of a culture not be lost in the seductive pursuit of the future? One must think globally, but how do we not lose the essence of who we are? Where have we been? and Where should we go? How can we understand the complexities and influences of hundreds of years of craft and tradition and use those influences to fashion a new cutting edge direction. How can the cultural influences of the past add benefit to a new design process? How can materials and art forms of the past add to a richer future? In the last seventy years Japan has changed extremely fast. Japan's cities have grown at an amazing rate and its culture fiber is evolving on every level by the moment. What can Japan's design voice be? How can a design sensibility be developed which reflexes the richness of Japan's past, but at the same time defines a new direction for a Japanese design language for the future? Understanding the influences of the past, the complexities of current trends and an awareness of the human-centered needs of the population at large form a strong basis for a new global design vocabulary.

Prerequisite: n/a
Course Credit: 3

Japanese language, writing, reading, conversation for English speakers. Japan's historical Arts & Crafts Cultures are built on their rich heritage, accomplishments and history, but how can a new future be formed without losing the identity of the past? At a time when cities & culture are changing so fast, how can the meaningful elements of a culture not be lost in the seductive pursuit of the future? One must think globally, but how do we not lose the essence of who we are? Where have we been? and Where should we go? How can we understand the complexities and influences of hundreds of years of craft and tradition and use those influences to fashion a new cutting edge direction. How can the cultural influences of the past add benefit to a new design process? How can materials and art forms of the past add to a richer future? In the last seventy years Japan has changed extremely fast. Japan's cities have grown at an amazing rate and its culture fiber is evolving on every level by the moment. What can Japan's design voice be? How can a design sensibility be developed which reflexes the richness of Japan's past, but at the same time defines a new direction for a Japanese design language for the future? Understanding the influences of the past, the complexities of current trends and an awareness of the human-centered needs of the population at large form a strong basis for a new global design vocabulary.

Prerequisite: n/a
Course Credit: 3

A multi-disciplinary design and editing studio focused on producing an "Evidence Book," a record of students' process and experience during an Art Center TDS course, a demonstration of what these courses do and can do. During the first term the course is offered, we will produce the first of these books by refining a student-edited and -designed collaborative final project from Summer 2012's "Food TDS." This process will be used to establish an identity for a future, ongoing small-press book that can be printed on demand, and generate a functioning schedule and style guide to be made available to future TDS courses, so each can build a publication of their own Evidence Book into their syllabi. In coming terms, this course will produce new Evidence Books (with a goal of doing so for other TDS courses if they do not wish to do it themselves), plus adjust and update the established system as needed.

Prerequisite: n/a
Course Credit: 1

A multi-disciplinary design and editing studio focused on producing an "Evidence Book," a record of students' process and experience during an Art Center TDS course, a demonstration of what these courses do and can do. During the first term the course is offered, we will produce the first of these books by refining a student-edited and -designed collaborative final project from Summer 2012's "Food TDS." This process will be used to establish an identity for a future, ongoing small-press book that can be printed on demand, and generate a functioning schedule and style guide to be made available to future TDS courses, so each can build a publication of their own Evidence Book into their syllabi. In coming terms, this course will produce new Evidence Books (with a goal of doing so for other TDS courses if they do not wish to do it themselves), plus adjust and update the established system as needed.

Prerequisite: n/a
Course Credit: 1

This course is for advanced students, 5th term or higher, and has as its ultimate objective the production of a viable chapbook / zine. During the course of the semester, students will not only need to design and produce a book, but work with an editor and an author, read deeply into the text to find meaningful ways (as opposed to solely decorative ways) to graphically represent the text, and study the historical and literary ground from which the text comes as one way of discovering its meaning. Course Objectives Emphasize the dynamic relationship between the meaning a text and its graphic representation. Explore the origins of a particular text as a method of learning how to begin to discover "meaning" in a literary work. Begin to make solid connections between the graphic and the literary arts. To embrace several departments [TDS], creating collaborative projects between writers and the practitioners of ACCD's various disciplines. To produce three chapbooks per year that would be suitable for sale to individual and institutional collections, and to distribute as gifts to major donors to the college and others

Prerequisite: n/a
Course Credit: 3

This course will teach students how to launch a product or service business. This course will focus on developing plans, presentations that can be positioned to launch your business, as well as for investors and corporations. This course will help the entrepreneur about how to start a business, sell a product, find who your customers are, create a market strategy, how management thinks, financial risk and rewards and how to attract resources. Successful startups, as well as companies require demanding execution measured against a plan and strategies. What are the corporate, competitive, market, sales strategies that work and what is the best ways to implement those and most economical in today's market. This is not a studio course to create a product or idea, this course is for those entrepreneurs who have an existing product, service, idea from their studio class and now want to take it to the next level and launch a business or sell a solution to a company.

Prerequisite: Take HMN-100 Writing Studio or HMN-101 Writing Studio Intensive.
Course Credit: 3

This course is offered to Alumni only. Please contact the Art Center at Night office for more information.

Prerequisite: Take HMN-100 Writing Studio or HMN-101 Writing Studio Intensive.
Course Credit: 3

The Art Center Design Team that will be conducting on-site research and creating visionary concepts that focus on how people, goods and information may move and be experienced by Berlins Millennial generation 10 years in the future. Working in a Pop-up studio, interdisciplinary student teams will investigate historical, contemporary and future MOBILITIES to envision and create sustainable mobility scenarios for Berlins young professionals. Students will use the experience of living and working in Berlin as the platform for their investigations into a broad range of urban mobile lifestyles and into social, environmental, economic and political/regulatory practices around this topic. Students will learn how to use lifecycle assessment as part of their investigation. Research findings, field trips, guest lecturers and special guests will inform the creative process. As deliverables, the student teamswill produce content and media-rich future scenarios for urban mobility. To facilitate and enrich the design outcomes, the MOBILITIES 2022 Studio will run concurrently with a 5th term Transportation Design Studio at the Pasadena Campus. This Pasadena Team will partner with the Berlin Team to assist in concept development, prototyping and model making, collaborating to help turn the Berlin Teams proposals into sophisticated design solutions in digital and hard-model form. This and other TestLab sections will combine for 12 units of Studio credit and 6 units of Humanities and Design Sciences. Available to fifth term and above students by application.

Prerequisite: n/a
Course Credit: 3

The Art Center Design Team that will be conducting on-site research and creating visionary concepts that focus on how people, goods and information may move and be experienced by Berlins Millennial generation 10 years in the future. Working in a Pop-up studio, interdisciplinary student teams will investigate historical, contemporary and future MOBILITIES to envision and create sustainable mobility scenarios for Berlins young professionals. Students will use the experience of living and working in Berlin as the platform for their investigations into a broad range of urban mobile lifestyles and into social, environmental, economic and political/regulatory practices around this topic. Students will learn how to use lifecycle assessment as part of their investigation. Research findings, field trips, guest lecturers and special guests will inform the creative process. As deliverables, the student teamswill produce content and media-rich future scenarios for urban mobility. To facilitate and enrich the design outcomes, the MOBILITIES 2022 Studio will run concurrently with a 5th term Transportation Design Studio at the Pasadena Campus. This Pasadena Team will partner with the Berlin Team to assist in concept development, prototyping and model making, collaborating to help turn the Berlin Teams proposals into sophisticated design solutions in digital and hard-model form. This and other TestLab sections will combine for 12 units of Studio credit and 6 units of Humanities and Design Sciences. Available to fifth term and above students by application.

Prerequisite: n/a
Course Credit: 3

The Art Center Design Team that will be conducting on-site research and creating visionary concepts that focus on how people, goods and information may move and be experienced by Berlins Millennial generation 10 years in the future. Working in a Pop-up studio, interdisciplinary student teams will investigate historical, contemporary and future MOBILITIES to envision and create sustainable mobility scenarios for Berlins young professionals. Students will use the experience of living and working in Berlin as the platform for their investigations into a broad range of urban mobile lifestyles and into social, environmental, economic and political/regulatory practices around this topic. Students will learn how to use lifecycle assessment as part of their investigation. Research findings, field trips, guest lecturers and special guests will inform the creative process. As deliverables, the student teamswill produce content and media-rich future scenarios for urban mobility. To facilitate and enrich the design outcomes, the MOBILITIES 2022 Studio will run concurrently with a 5th term Transportation Design Studio at the Pasadena Campus. This Pasadena Team will partner with the Berlin Team to assist in concept development, prototyping and model making, collaborating to help turn the Berlin Teams proposals into sophisticated design solutions in digital and hard-model form. This and other TestLab sections will combine for 12 units of Studio credit and 6 units of Humanities and Design Sciences. Available to fifth term and above students by application.

Prerequisite: n/a
Course Credit: 3

The Art Center Design Team that will be conducting on-site research and creating visionary concepts that focus on how people, goods and information may move and be experienced by Berlins Millennial generation 10 years in the future. Working in a Pop-up studio, interdisciplinary student teams will investigate historical, contemporary and future MOBILITIES to envision and create sustainable mobility scenarios for Berlins young professionals. Students will use the experience of living and working in Berlin as the platform for their investigations into a broad range of urban mobile lifestyles and into social, environmental, economic and political/regulatory practices around this topic. Students will learn how to use lifecycle assessment as part of their investigation. Research findings, field trips, guest lecturers and special guests will inform the creative process. As deliverables, the student teamswill produce content and media-rich future scenarios for urban mobility. To facilitate and enrich the design outcomes, the MOBILITIES 2022 Studio will run concurrently with a 5th term Transportation Design Studio at the Pasadena Campus. This Pasadena Team will partner with the Berlin Team to assist in concept development, prototyping and model making, collaborating to help turn the Berlin Teams proposals into sophisticated design solutions in digital and hard-model form. This and other TestLab sections will combine for 12 units of Studio credit and 6 units of Humanities and Design Sciences. Available to fifth term and above students by application.

Prerequisite: n/a
Course Credit: 3

The Art Center Design Team that will be conducting on-site research and creating visionary concepts that focus on how people, goods and information may move and be experienced by Berlins Millennial generation 10 years in the future. Working in a Pop-up studio, interdisciplinary student teams will investigate historical, contemporary and future MOBILITIES to envision and create sustainable mobility scenarios for Berlins young professionals. Students will use the experience of living and working in Berlin as the platform for their investigations into a broad range of urban mobile lifestyles and into social, environmental, economic and political/regulatory practices around this topic. Students will learn how to use lifecycle assessment as part of their investigation. Research findings, field trips, guest lecturers and special guests will inform the creative process. As deliverables, the student teamswill produce content and media-rich future scenarios for urban mobility. To facilitate and enrich the design outcomes, the MOBILITIES 2022 Studio will run concurrently with a 5th term Transportation Design Studio at the Pasadena Campus. This Pasadena Team will partner with the Berlin Team to assist in concept development, prototyping and model making, collaborating to help turn the Berlin Teams proposals into sophisticated design solutions in digital and hard-model form. This and other TestLab sections will combine for 12 units of Studio credit and 6 units of Humanities and Design Sciences. Available to fifth term and above students by application.

Prerequisite: n/a
Course Credit: 3

The Art Center Design Team that will be conducting on-site research and creating visionary concepts that focus on how people, goods and information may move and be experienced by Berlins Millennial generation 10 years in the future. Working in a Pop-up studio, interdisciplinary student teams will investigate historical, contemporary and future MOBILITIES to envision and create sustainable mobility scenarios for Berlins young professionals. Students will use the experience of living and working in Berlin as the platform for their investigations into a broad range of urban mobile lifestyles and into social, environmental, economic and political/regulatory practices around this topic. Students will learn how to use lifecycle assessment as part of their investigation. Research findings, field trips, guest lecturers and special guests will inform the creative process. As deliverables, the student teamswill produce content and media-rich future scenarios for urban mobility. To facilitate and enrich the design outcomes, the MOBILITIES 2022 Studio will run concurrently with a 5th term Transportation Design Studio at the Pasadena Campus. This Pasadena Team will partner with the Berlin Team to assist in concept development, prototyping and model making, collaborating to help turn the Berlin Teams proposals into sophisticated design solutions in digital and hard-model form. This and other TestLab sections will combine for 12 units of Studio credit and 6 units of Humanities and Design Sciences. Available to fifth term and above students by application.

Prerequisite: n/a
Course Credit: 3

An interdisciplinary exploration of the period from 1958-1972 - a revolutionary turning point in 20th century American culture, and how it laid the foundation for many of the current and future issues of the 21st century including media and technology, ecology and sustainability, and designing the future. A seminar style class incorporating the visual and performing arts, literature, television, film, fashion, advertising, design, social and political movements, science and technology. The class will examine, analyze, and compare the diverse cultural output of the 1960s with critical insight into the creative, political, and social dynamics of the era, and its relevance to our current time and issues. Weekly topics: Ground Zero & The New Frontier; The Idea of Freedom: Questioning the Status Quo/ Breaking New Ground; Cultural Revolution & the Avant-Garde Paradox; Consumer Culture & New Media: The new imagemakers; Future Shock: the Zen of Art & Technology from the Space Race to the Global Village; Acid Dreams and Nightmares: Then & Now; Going Green: On the road & back to the land. Presentation projects, critical papers, guest speakers.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

The Berlin Collective is a unique six-week experience, giving students the rare opportunity to share a working Studio in a major European city. The project is hosted by the Illustration Department, but will include students from a variety of majors, encouraging a truly transdisciplinary spirit. By Permission Only. 6 Cr

Prerequisite: n/a
Course Credit: 6

The Berlin Collective 2 will be a one-of-a-kind, eight to twelve-week cultural immersion in Berlin, giving students a unique opportunity to share a collective studio experience in a major European city. It is intended to challenge the individual's ability for keen observation, comprehensive research, articulation of ideas, presentation skills and collaborative abilities, and expand cultural sensitivity and awareness. Each individual will explore Berlin through the lens of his or her own selected topic, fostering their ability to draw connections between new cultural experiences and ideas, and finding resonance within their own developing work. Accompanied by a curated blog presence, travel documentation and an exhibition at ACCD.

Prerequisite: n/a
Course Credit: 3

"Fashion" as a term has several connotations, some specific, others far-reaching. The whole notion of 'fashion' and what constitutes the fashionable is the subject of this seminar series. We will trace such issues as masculinity, spectacle, branding, urban spaces and lifestyles, subcultures, performance and performance art and the way these issues are embedded in and transforms our understanding of rock music, film, video, politics and contemporary thought. We will also explore the current debate about what constitutes the spectacular today. The seminar will examine concepts like 'cool,' violence and style, fashion as porn, the notion of glamor, the silent struggle > between fashion and feminism, the place given to oral testimony and the changing function of the museum as it seeks to showcase fashion as part of a complex discourse rather than simply a collection of garments. The primary learning objective of the course is to understand how the ephemeral and constantly changing concept of fashion and the fashionable as well as the concept of 'trends' impacts the very > substance of everyday life and how the new media have revealed 'fashion' and the fashioning of culture as a hitherto invisible or unsubstantiated force.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course is designed to prepare students for entry into the 147real world.148 Emphasis is on identifying professional identity and developing communication tools needed to successfully navigate the uncharted waters of business that students encounter after graduation. Students will refine their resume and cover letters to reflect their individual competitive strengths, as well as enhance communication skills as they relate to business correspondence, presentations and negotiating tactics. Additional topics include: personal positioning strategy, professional etiquette, public relations and self-promotion. Guest lecturers with expertise in targeted areas of study will be invited to share their experiences and as time permits, field trips to local design groups may be scheduled.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

The dream is a multi-disciplinary class about dreams, focussing on the science of sleep and dreaming, on the structure of dreaming, and the way "dream logic" informs the work of writers, artists and filmmakers. Students will learn about the physiology of sleep and sleep disorders, and about the neurology and phenomenology of dream content. We will discuss earlier ways of analyzing content (Freud), as well the contemporary scientific understanding of the narrative structure of dreams. We'll also see how artistic works can be accessed through the same methods that can be used in making meaning in dreams. Whatever the true meaning of dreams might be, one of the most common features is our pervasive sense of that dreams mean something. Dreams create a sense or experience of meaning. How artists translate these dream experiences into artistic expressions will be a continuing theme throughout the course.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or passed prof test
Course Credit: 3

The dream is a multi-disciplinary class about dreams, focussing on the science of sleep and dreaming, on the structure of dreaming, and the way "dream logic" informs the work of writers, artists and filmmakers. Students will learn about the physiology of sleep and sleep disorders, and about the neurology and phenomenology of dream content. We will discuss earlier ways of analyzing content (Freud), as well the contemporary scientific understanding of the narrative structure of dreams. We'll also see how artistic works can be accessed through the same methods that can be used in making meaning in dreams. Whatever the true meaning of dreams might be, one of the most common features is our pervasive sense of that dreams mean something. Dreams create a sense or experience of meaning. How artists translate these dream experiences into artistic expressions will be a continuing theme throughout the course.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or passed prof test
Course Credit: 3

The dictionary defines an entrepreneur as, "a person who organizes, operates and assumes the risk for a business venture." However, an entrepreneur is also a true innovator who recognizes opportunities and organizes resources to take advantage of those opportunities. This course will provide you with all the necessary tools to complete a fully integrated business plan. Harvard Business School case studies will be reviewed and referenced so that you can learn from real world companies and the challenges they faced on the road to success. At the end of the course, you will present your business plan to an invited group of venture capitalists during a special presentation.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: n/a
Course Credit: 3

This course will compare and contrast the architectural, sculptural and design events of cinema through the cinematic lenses of Buster Keaton and Jacques Tati. With various guises of stone faces, both comic filmmakers use the elements of cinematic comedy that defy physical phenomena and query the underpinnings of society and culture. Keaton and Tati glare at the ideologies and utopias of the 20th ca., then diminish them wondrously into the realization of their problems as dystopias as they ponder the production, architecture and industry of theirs and our times. Through vaudeville, surrealism and modernism and post, both use sight props, gag props and other comic feats that implode into sculptural events that burlesque and cartoon the cinematic illusionary of the physical. Viewings, discussions, research and writing are avenues of study for the students. Readings will include various historical critical writings on comedy and the history of cinematic comedy and explore types of comedy including parody, slapstick, de(con)tructive comedy and satire. The selection of writings will include those by Robert Knopf, Andrew S. Horton, Gerald Mast, James Harding and Michel Chion. The course will also view examples of other comedy cinema as well as sculpture that uses forms of satire, slapstick, the sight gag and de(con)tructive comedy including Gordon Matta Clark and the films of Roman Signer's sculptural events and well as television commercials. Architecture will be an environment of study alongside historical forms of cinema. (3 credits)

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course is an auteur study of the films of Woody Allen focusing on his strong background in writing with broad and heavy dialogues set in film learning environments. The course will investigate writing and its translations and interpretations into film environments circling the political, social and psychological meanderings of the last 60 years. Nihilism, cynicism, sarcasm and jokes, how are they intertwined with our observations as individuals facing our complicated worlds. The course will outline and discuss comedic structures used in film as seen in this filmogrpahy but will circumference historical comedic structures. A chronological selection of films will be viewed representing categories and interests that parallel Allen's film history. Discussions, readings and research papers are organized to develop the students interests in visual culture and understanding their involvement in their world with their own cultural production.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Course level recommendation: Intermediate or advanced undergraduate Additional pre-requisite recommendation: Art of Research and/or Critical Practices 1 A close examination of the genre loosely labeled graphic novel, in which verbal and visual language come together on the page toward a literary effect. Through study of comics and graphic novels themselves plus a number of critical texts which examine comics development over time and how they function physically and thematically this course investigates comics specialized language and the possibilities of narrative in a medium so open, for a number of reasons, to experimentation.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Course level recommendation: Intermediate or advanced undergraduate Additional pre-requisite recommendation: Art of Research and/or Critical Practices 1 A close examination of the genre loosely labeled graphic novel, in which verbal and visual language come together on the page toward a literary effect. Through study of comics and graphic novels themselves plus a number of critical texts which examine comics development over time and how they function physically and thematically this course investigates comics specialized language and the possibilities of narrative in a medium so open, for a number of reasons, to experimentation.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course offers a close examination of the genre loosely labeled "graphic novel," in which verbal and visual language come together on the page toward a literary effect. Through a study of comics and graphic novels themselves, plus a number of critical texts which examine comics development over time and how they function physically and thematically, we will investigate the specialized language of comics and the narrative possibilities of a medium so open to experimentation.

Transferable (see REGISTRATION INFO-COURSE CREDIT for details).

Prerequisite: HMN-100X Writing Studio, or completion of a college-level English composition course with a grade of B or better.
Course Credit: 3

The Lab is a hands-on scientific exploration across several worlds of the unseen, including energy, electronics, microstructure, and the wind. For energy, we will grow algae and use them to convert sunlight into biofuel. For microstructure, we will use a variety of microscopes to examine the microscopic world. For electronics, we will send sound over a beam of light and program a robotic cockroach. And, for the wind, we will build DIY wind tunnels and study the aerodynamics of moving vehicles. Each lab will help to inspire your sense of scientific inquiry and lead you to explore the unknown. This class is an introduction to the Art Center Science and Technology Program.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

We never really quite see the world as it is: we always look through some kind of lens. Lenses enable us to see by focusing our gaze, and lenses do so by selecting some data and leaving out other data. We frequently switch from one lens to another, without always being aware of the way we filter information. The lens as filter is a metaphor for the complex and sometimes tenuous relation we have with reality. This course presents students with a multidisciplinary exploration of lenses, ranging from the literal to the metaphorical, to the scientific, representing ways of seeing which are frequently employed in the arts and design worlds and beyond. These "lenses" will be addressed by several different instructors, each representing a different approach to image making and image understanding, and to knowledge. Team teaching will facilitate contrast and discussion, and will encourage critical analysis and synthesis. Students will explore these lenses through study and through usage. This active exploration will allow students to make informed choices as they are embarking on their own variety of investigations into histories, theories, and practices.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

We never really quite see the world as it is: we always look through some kind of lens. Lenses enable us to see by focusing our gaze, and lenses do so by selecting some data and leaving out other data. We frequently switch from one lens to another, without always being aware of the way we filter information. The lens as filter is a metaphor for the complex and sometimes tenuous relation we have with reality. This course presents students with a multidisciplinary exploration of lenses, ranging from the literal to the metaphorical, to the scientific, representing ways of seeing which are frequently employed in the arts and design worlds and beyond. These ?lenses? will be addressed by several different instructors, each representing a different approach to image making and image understanding, and to knowledge. Team teaching will facilitate contrast and discussion, and will encourage critical analysis and synthesis. Students will explore these lenses through study and through usage. This active exploration will allow students to make informed choices as they are embarking on their own variety of investigations into histories, theories, and practices.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

We never really quite see the world as it is: we always look through some kind of lens. Lenses enable us to see by focusing our gaze, and lenses do so by selecting some data and leaving out other data. We frequently switch from one lens to another, without always being aware of the way we filter information. The lens as filter is a metaphor for the complex and sometimes tenuous relation we have with reality. This course presents students with a multidisciplinary exploration of lenses, ranging from the literal to the metaphorical, to the scientific, representing ways of seeing which are frequently employed in the arts and design worlds and beyond. These ?lenses? will be addressed by several different instructors, each representing a different approach to image making and image understanding, and to knowledge. Team teaching will facilitate contrast and discussion, and will encourage critical analysis and synthesis. Students will explore these lenses through study and through usage. This active exploration will allow students to make informed choices as they are embarking on their own variety of investigations into histories, theories, and practices.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

This course offers a survey of the role of structure as a foundation of successful design. As a practical concept, structure embraces many design parameters: form, function, cost, durability, and manufacturability are among those that come to mind. From a theoretical standpoint, however, understanding and predicting how these parameters interact requires knowledge of details from the disparate fields of physics, engineering, materials science, and history, among others. This course will explore these complex relationships by introducing definitions, methods, and analytical techniques complimented by a more historical perspective on the function of structure. Case studies in the lessons of structural failure will illustrate how cutting-edge design must, at times, balance on a knife's edge, and how such daring might be safely and dependably accomplished in the future.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

What is the role (or even, responsibility) of the designer in working toward social change? Exploring the mutually inflected relationships between theory, method and design researchas gleaned from anthropology and the social sciencesstudents will work toward developing a research-based, critically reflexive, and socially-engaged design practice. What are the problematics and possibilities of design with regard to: regimes of knowledge, social and cultural difference, and forms of inequality? Students will develop skills in formulation of research problems; qualitative research tools and methods, secondary research strategies, and implementation of a range of research models including PI lead, collaborative, participatory, action research.

Prerequisite: n/a
Course Credit: 3

A great challenge to transportation designers: What will trucks need to be to attract the best professional drivers of the future? What should the culture of American trucks be? More radically, we will also ask: will there be trucks at all in their currently recognized form? What might be other possibilities? Students will be challenged to consider a time span of 10 to 30 years ahead and foresee what America will look like. How will current and future trends change the social, economic and technological landscapes in North America? What will this future America require of long-distance transportation of goods? How can design help assure that the new generation will want to be part of this essential element of the economy? Who will be the truckers of the future? What vehicles will they control? Through an increased understanding of transport related sub-cultural identities on the one hand, and innovation techniques on the other, students will explore the broad contexts in which their designs might operate. Topics may include: the history of the movement of goods (back to camel-trains, for example), intercontinental and cross-vehicular issues, such as transfers across borders and natural barriers; politico-economics, fuel, urban planning; Deleuzian philosophy of nomadism and molar and molecular lines of desire; bikers, RV enthusiasts, including amateur VW repurposing; analysis of the strengths and weaknesses of artistic and fictional approaches to innovative transport. Armed with this foresight and research, students will be required to create concepts of trucks of all mid-size to big-rig categories. Their ideas will need to address the totality of the truck driving experience, from (in current terms) cabs to living accommodation to layout and finally the exterior aura.

Prerequisite: Take HMN-100 Writing Studio,or HMN-101 Writing Studio Intensive, or Pass the Writing Placement Exam and CUL-206 History and Theory of Space 1
Course Credit: 3

This course will introduce the study of cities and city life from an anthropological perspective (e.g., how people, from elites to prostitutes, survive in cities; how cities visually reflect globalization; how gangs and churches both help poor people survive). By the end of the course the students should be able to identify characteristics of cities cross-culturally and demonstrate an understanding of the interconnectedness between the institutions of urban life and the lives of city dwellers. The emphasis will be on cities and systems that guide our lives and our responses to them.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

While standard art histories have explored how artists have made 'imaginative capital' of the city, thus transforming the urban landscape into an icon of modernity, more recent discussions focus on the network cultures of modernism and postmodernism. This course explores the relationship of art and the city through such issues as artistic identity and lifestyle, cultural capital, urban space and neighborhood. Our interest is in understanding the role of urban environments and urban social formations in the history of Western art since the origins of Bohemia in nineteenth-century Paris. Some questions we will entertain are: How have cities worked to support innovation in the arts?; What are the influences of formal systems of patronage and informal social networks and institutions?; Is there a 'transmedia' urban aesthetic?

Prerequisite: Take HUM-100 Writing Studio, HUM-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

In this course, we will work with scientists in a virtual environment to design visual tools to figure out what questions to ask next. A cutting-edge, ongoing research program at a medical school is trying to understand the causes of age-related diseases and infirmities. We will be helping their team design and test new transdisciplinary tools for generating scientific hypotheses. Just maybe we will be part of a new discovery! An "island" in the Second Life virtual world owned by a consortium of universities will be used for this pilot program. Prior knowledge of Second Life is not anprerequisite; all majors are welcome.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

Visual Anthropology is an examination of visual culture and its representation by anthropologists. The course will look at universal meanings behind common visual symbols as well as the main patterns of difference between types of cultures. Throughout the course, videos made by anthropologists about other cultures will show the history of change in representation and the meaning of exotic visual symbols to Western culture as a whole.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course debunks topics usually called "mathematical" by revealing their use in other fields, with a particular focus on those concepts that have a visual bent (geometrical, cultural, textual); color, sound, dimension, and similar concepts are also featured. Lecture is composed of a series of "modules", each built around a separable concept drawn from the field of mathematics that connects to multiple convergent areas in other disparate subject areas. A non-exhaustive list: classical and modern visual arts, economics, science (astronomy, physics), music, optics (color, lenses), and numerical studies (infinities, "special" numbers, mystical preconceptions, "unexplainable" phenomena). A goal of the course is to demonstrate these manifold connections, but also to uncover the interesting and beautiful side of mathematical concepts; special attention is given to those concepts that have "unexplained beauty". All mathematical skill required for analytical techniques will be taught in course wherever required. Visual Math will be taught as a reading/writing course; in-class methods will include lecture, discussion, and the critique of texts from written, visual, musical, and pure mathematical sources. Discussions will have a special focus on inspiring students to see natural and technological environments with an eye on mathematical patterns. Students of this course will discover that these patterns are ubiquitous; furthermore, not only can we discover them without studying "math" per se, but that rational methods can be used to explain the unseen in our universe. Learning Outcomes: 1. Students will be able to critically describe several mathematical concepts in examples of visual art. 2. Following this course, students will be able to define sequences, patterns, tessellations, and similar mathematical concepts as they apply to applied design. 3. During this course, students will prepare critical essays identifying, describing and defending the emergence of visual techniques in mathematics (or vice versa).

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This is a one semester exchange program with Weissesee School of Art in Berlin, Germany. By Permission Only. 12 Cr

Prerequisite: n/a
Course Credit: 12

This class casts a critical eye over contemporary design - architecture, product and graphic design, their trends and characters in the context of national cultures and international business, including discussion from the design fronts of Europe, Asia and North America. A distinctive character of design persists in many nations that allow products, architecture and graphics to be identified with a particular culture. Opposing these are objects and images designed to appeal to the world market, produced by design firms and manufacturers who claim to cater to a global taste. This class assesses the prospects of both nationalism and globalism in design, examining the question of how cultural influences can or should contribute to product form and function.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or HUM-WRS Passed Writing Prof. Test
Course Credit: 3

The course is designed to help students develop a level of proficiency and confidence with tools for writing about art, especially their own.

Prerequisite: Take HMN-100 Writing Studio, HMN-101 Writing Studio Intensive or Passed Writing Prof Test
Course Credit: 3

This course is tailored to the needs of Art Center students and promotes fluency in the discourses of art and design as well as overall critical thinking skills. At least half the course readings address topics in art, design, or consumer culture. The assignments ask students to write in a range of contexts, make oral presentations, review grammar as needed, and build their vocabulary. Over the semester each student will complete a variety of writing exercises and generate and revise four major papers. A final exam will assess progress made from the beginning of the term.

Prerequisite: n/a
Course Credit: 3

Prerequisite: n/a
Course Credit: 3

Video games are unlike any other storytelling medium; their greatest strength - interactivity - poses unique challenges (and opportunities) for a writer. In this course, we will work to analyze and identify what works and what doesn't in writing for video games, and apply that knowledge to create compelling worlds and stories for a player. We will examine both the direct functions (e.g. dialogue), and the indirect functions (reflected in the pacing, design, and gameplay) of writing for the medium, with a focus on practical application of storytelling as pertains specifically to video games. At the end of the class, students will present an original video game concept and story, along with key art and an explanation of game mechanics . and discuss how it all fits together. Overall familiarity with "video games" in the collective sense is a must. Without that, certain specifics and intricacies of the medium aren't going to make much sense, and the class will prove significantly more difficult. Required materials: Access to current- and previous-generation gaming consoles, either via original hardware of software emulators. Ability to do video captures of games on said consoles, then add voiceover or subtitles. (this isn't an absolute requirement, since we can theoretically work around it . but it will make life easier on certain assignments.)

Prerequisite: Take HMN-100 HUM-WRS or HMN-101;
Course Credit: 3

What is health and wellness for the millennial generation? How does the notion of physicality, beauty and wellbeing evolve in times of deep cultural technological shifts and profoundly changing values? The diverse and futureforward city of Berlin serves as resource and test lab for explorations on the leading edge between culture and commerce. Goal of this studio abroad project is to create fresh thinking that can augment the individual and social perception and experience in the realm of health and wellness. Areas of creative exploration of this transdisciplinary studio sponsored by Johnson & Johnson will include temporary Pop-up retail & wellness spaces and visionary applications for emerging media mobile / wearable / social / participatory / immersive / augmented). The testlabBerlin studio will be situated in one of the most exciting emerging locations, Bikini Berlin. The project will be connected to the international fashion and trend show Bread&Butter, and to the design festival DMY. Mentorship of the Art Center student team will be provided by a group of leading Berlin-based designers and artists. testlabBerlin is a sponsored 14 week studio abroad project in the summer term 2011. Full semester credit: 12 units studio credit / 6 units of HDS credit. Available to fifth term and above students by application. Lead faculty: Rob Ball

Prerequisite: n/a
Course Credit: 3