Humanities and Sciences

Andy Warhol was not only a painter, publisher,ýand socialite, but also a prolific filmmaker.ýAfter his death, the Warhol estate countedýapproximately 600 films of various lengths and inývarious stages of completion, all producedýbetween 1963 and 1968. ýýThis course focuses on a sample of films directedýby Warhol, including a few well known titles andýmany others that have only recently beenýpreserved and have never been shown before at ArtýCenter or in Southern California. Among theýrarities are Mrs. Warhol, the only film starringýAndy Warhol's mother, Eating Too Fast, the soundýremake of Blow Job, and Since, Warhol's filmýabout the assassination of John F. Kennedy. ýýThe course reader includes important writingsýfrom the 1960s to the present not only aboutýWarhol's films, but also about the times in whichýhe made them. Each class meeting will begin withýa screening of a 16mm print of the week's film,ýfollowed by a discussion. Because none of theseýfilms can be seen on DVD or online, attendance atýscreenings is mandatory. The course's mainýrequirement is a 12-page term paper, due at theýlast class meeting.

Course number: HNAR-226
Prerequisite: n/a

Each section will have a unique description

Course number: SAP-802
Prerequisite: n/a

This introductory queer studies course exploresýmultiple ways of defining the broad term "queer"ýand the sexual and cultural practices that exceedýwhat is often called "normal." As the LGBTQýacronym continues to expand (+IAP, etc.), we willýask, how and why did human sexuality become anýobject of study? And why do we frequently useýtheoretical language to talk about sexuality andýgender? To address these questions, we willýexamine a cross-section of the many academicýdiscourses-spanning the fields of history,ýcritical theory, psychology and psychoanalysis,ýcritical ethnic studies, literary and culturalýstudies, sociology, and sexology-that haveýenabled the formation of queer studies as an areaýof inquiry. At the same time, we will exploreýqueer studies' roots in street protest, desireýand "experience," and popular representation.ýNecessarily, our approach to the field will beýintersectional and transdisciplinary: we willýtake for granted the idea that sexuality andýgender cannot be discussed apart from race,ýclass, nationality, religious ideology, and otherýidentifications. The course thus offers aýconstellated history, i.e. one that is not alwaysýlinear, in an effort to illuminate the variousýattempts that have been made to capture andýclassify the queer experience globally, as wellýas in the Western contexts with which many of usýare so familiar.

Course number: HSOC-213
Prerequisite: n/a

Sound. Sight. Touch. Smell. Taste. These are theýmeans we use to perceive and understand ourýworld. How can we push the limits of our sensesýto gain knowledge and advance ourselves as humanýbeings? What other modes of perception are outýthere?ýýAs humans, the amount of information we can takeýin with our physiological sensors (our eyes,ýears, nose, tongue, and skin) is relativelyýlimited. For example, dogs can travel throughýtime with their nose, using smell to pick up pastýinformation and predict disease long before weýcan. Bats can use sound as sight by echolocation.ýDragonflies can see perfectly in low light andýover 5 times as fast. Advances in science andýtechnology have allowed us to move well beyondýour bodily limitations to gain a greaterýunderstanding of the material world from theýatomic scale to the universal scale. How do theseýsense mechanisms work? What perceptual devicesýhave we come up with to push each of these sensesýto their limits? How does this knowledgeýtransform human progress? Can we gain a higherýstate of consciousness? What happens when ourýsenses get mixed up? How do we make up for anýabsence of sense?ýýThis class will use lectures, discussion, andýhands-on experimental work to develop a holisticýscientific understanding of how the senses workýand advanced sensing technology (i.e.ýmicroscopes, transducers, etc) with no need forýprior high-level scientific knowledge orýmathematics.

Course number: HSCI-224
Prerequisite: n/a

Do the homemade signs stapled to telephone polesýqualify as graphic design? Do cut-and-pasteýransom notes qualify as typography? Why shouldýgraphic designers study hand-painted lettering?ýThis 6-week intensive course will challengeýstudents to critically analyze works notýtypically explored in graphic design history. Theýcourse will consist of two primary components: 1)ýHistorical analysis of vernacular typography andýlettering across the globe, and 2) primaryýresearch on vernacular typography and letteringýin Los Angeles. Multiple class meetings willýconsist of instructor-led visits to off-campusýsites, including various Los Angelesýneighborhoods, museums/galleries, archives, andýother relevant locations. Assignments include oneýshort midterm paper and a final research reportýand presentation.

Course number: HHIS-241
Prerequisite: n/a

Do the homemade signs stapled to telephone polesýqualify as graphic design? Do cut-and-pasteýransom notes qualify as typography? Why shouldýgraphic designers study hand-painted lettering?ýThis 6-week intensive course will challengeýstudents to critically analyze works notýtypically explored in graphic design history. Theýcourse will consist of two primary components: 1)ýHistorical analysis of vernacular typography andýlettering across the globe, and 2) primaryýresearch on vernacular typography and letteringýin Los Angeles. Multiple class meetings willýconsist of instructor-led visits to off-campusýsites, including various Los Angelesýneighborhoods, museums/galleries, archives, andýother relevant locations. Assignments include oneýshort midterm paper and a final research reportýand presentation.

Course number: HSOC-241
Prerequisite: n/a

This course explores key topics in AI for artistsýand designers. The three-hour seminar will provideýan introductory overview of the theories,ýhistories, and debates at the intersection of artýand artificial intelligence. We will discussýemerging technologies that include imageýgenerators (DALL-E, Midjourney) and large languageýmodels (ChatGPT, Bard), as well as priorýcomputational tools and their creative uses.ýTopics covered will include issues of authorship,ýmultispecies collaboration, algorithmic bias, dataýethics and politics, and beyond. These topics willýbe paired with discussion of works by artists andýdesigners experimenting with AI. The coreýobjective of the course will be to develop aýcritical understanding of the kinds of artisticýfutures that might emerge through and alongsideýartificial intelligences. Creative assignments andýresponses to the course material will beýencouraged, in the medium of each students'ýchoice.

Course number: HSOC-504
Prerequisite: n/a

This course explores key topics in AI for artistsýand designers. The three-hour seminar will provideýan introductory overview of the theories,ýhistories, and debates at the intersection of artýand artificial intelligence. We will discussýemerging technologies that include imageýgenerators (DALL-E, Midjourney) and large languageýmodels (ChatGPT, Bard), as well as priorýcomputational tools and their creative uses.ýTopics covered will include issues of authorship,ýmultispecies collaboration, algorithmic bias, dataýethics and politics, and beyond. These topics willýbe paired with discussion of works by artists andýdesigners experimenting with AI. The coreýobjective of the course will be to develop aýcritical understanding of the kinds of artisticýfutures that might emerge through and alongsideýartificial intelligences. Creative assignments andýresponses to the course material will beýencouraged, in the medium of each students'ýchoice.

Course number: HSOC-404
Prerequisite: n/a

Psuedo course block

Course number: HCRT-ACRP.PC
Prerequisite: n/a

Write, develop, create, and finish aýself-directed, entertainment-based project.ýGraphic novels, sock puppets, CG, and everythingýor anything in-between.ýýAn advanced workshop that offers the structure,ýsupport, and rigor it takes to complete anýambitious making/writing project. To earn theýthree Humanities units for this course, studentsýwill: Develop a writing and planning process forýlarge-scale projects; write several times everyýweek; write well-composed texts that 1) meet theýdrafting markers we collectively establish, 2)ýobserve, employ, and experiment with theýconventions of the proposed genre and 3) functionýwithin the form and context of the proposedýfinished work; critically read student andýpublished texts; actively participate inýconstructive discussion of writing during everyýclass.ýýThis is a co-requisite class to TDS AdvancedýEntertainment Project Studio. Concurrentýenrollment requirement for 3 credits studio TDSýand 3 credits Humanities/Human credits.

Course number: HNAR-402
Prerequisite: n/a

This course explores the connection betweenýnarrative and the visual experience in the gameýdesign realm. Its goal is to provide students anýin-depth framework for how to approach crafting aýnarrative in this interactive medium, along withýan understanding of how game design mechanics areýconnected with developing player agency, and howývisuals support these elements. Additional topicsýwill include how the narrative experienceýtranscends text; sound design; visual themes;ýanimation choices; and core game designýdecisions. Students will craft five characterýstudies, create copy for marketing a game,ýgenerate a character relation chart, write a listýof rewards and punishments to motivate players inýa game, keep a game diary of their video gameýexperiences throughout the course, and combineýthese elements into an original full game designýdocument.ý ýStudents will utilize a combination ofýhands-on-gameplay, lecture and discussion,ýin-class exercises, and creative writingýworkshops to foster a greater understanding ofýthe connection between narrative and visualýelements with the process of game development.ýThe students will finish the term with aýportfolio of copy that connects the variousýnarrative components of the interactive medium,ýincluding all of the elements mentioned above.

Course number: HNAR-371
Prerequisite: n/a

This course will introduce students to advancedýresearch methods in academic and design contexts.ýBuilding on previous research coursework, studentsýwill advance their competency in developingýresearch questions, identifying sources, andýgathering and analyzing data. They will also learnýtechniques for articulating insights andýopportunities for creative projects. Students willýdesign and conduct independent research projectsýas we explore together the history, methodologies,ýand methods of research practice includingýqualitative, ethnographic, and participatoryýapproaches. Research ethics and decolonizingýperspectives will be examined through texts andýdiscussion of student experiences. In their finalýprojects, students will develop a researchýpresentation culminating in a creative brief,ýwhich may include speculative visualizations orýprototypes as time allows.

Course number: HSOC-367
Prerequisite: n/a

This is an advanced screenwriting workshop thatýprovides students the dedicated time, supportýfrom instructor and student and structure neededýto move a story from concept to the writtenýscript form.ýýEach student is responsible for making consistentýprogress on a script project they commit to onýthe first day of class. Preferably, this scriptýproject is one that they have begun in HNAR-337ýScreenwriting and already is in a solid 3-ActýStructure format, with well-developed characters.ý Additionally, each student is expected toýcontribute to supporting their fellow classmates'ýgoals through reading and well-consideredýcritique.ýýA collaborative project between enrolled studentsýis also acceptable, as long as the writing isýdivided equitably among teammates.ýýPre-req: HNAR-337 Screenwriting, or TDS-319 TheýStorytelling Project.

Course number: HNAR-437
Prerequisite: n/a

This prototyping-oriented class leads studentsýthrough numerous open-ended, small-to-mid-scaleýdesign briefs in the Raspberry Pi 3 developmentýenvironment. Students will exploreýenvironmentally deployed embedded media, mappingýand surveillance techniques, as well as basicýinteraction strategies as a means to establishýcomputer literacy in an always-connected,ýinternet-of-things context. Simultaneously,ýstudents will learn strategies for seeing aýproject through from ideation to completion.ýRegular critiques will provide an opportunity forýstudents to share their research and prototypesýwith their colleagues as well as receive directýfeedback from the instructor.

Course number: HSCI-215
Prerequisite: n/a

Alice in Wonderland counts six impossible thingsýbefore breakfast; can you count six "impossibleýmaterials"? To do that, we first need to cover aýfew basics.ýýThis course aims to provide students with theýnecessary foundation and primary tools for theirýart and design practices in relation to materialsýscience and engineering. Starting from theýfundamentals of scientific practice and itsýrelation to art and design, we will learn aboutýthe building blocks of animate and inanimateýworlds, how materials are produced, classified,ýcharacterized and used; constantly relating thoseýto their impact on society's past, present andýfuture. After covering key concepts such asýmaterials ecology, sustainability, bio-mimickingýand nanotechnology as well as case studies such asýsmart screens, comet dust catchers, self-repairingýclothes, computer chips made of DNA, or heavy-dutyýstickers inspired by gecko feet, we will ideate onýhow to make the impossible -such as flexibleýglass, transparent metals, or plastics strongerýthan concrete- possible through novel materialýdesign approaches. We will end with reflections onýthe future of materials science and technology.ýýApart from regular lectures, we will implement useýof online tools, laboratory practices, and/orýfield trips where the pandemic allows. Theýassessment will be done via content-basedýhome-work assignments and a final project ideaýpresentation. High school-level proficiency onýarithmetic operations is required. Basic knowledgeýin chemistry or physics is helpful but notýnecessary.?

Course number: HSCI-306
Prerequisite: n/a

1) In the course of the term each student willýdevelop his or her definition of propaganda;ýý2) They will develop a broad familiarity with theýtechniques of persuasion, ""perceptionýmanagement"" and information manipulation &ýcontrol and they will become familiar with theývariety of ways in which the principles andýpractices of contemporary advertising and PublicýRelations intersect and overlap with theýpractices of propaganda;ýý3) They will be introduced to the ways in whichýthe imagery of contemporary advertisingýestablishes an environment for the disseminationýof propaganda;ýý4) They will learn something of the ways in whichýthe economics of advertising influences the flowýof information and the practices of censorship;ýý5) They will be introduced to examples ofý""Alternative Media,"" and alternative sources ofýinformation; and,ýý6) They will learn the meaning of ""fullýspectrum"" information.ýý

Course number: HSOC-270
Prerequisite: n/a

This course provides a journey through the historyýof advertising from the perspective of a creative.ýWe'll examine where, how and when creativityýplayed a role in advertising and how popularýculture and events of the country helped shapeýthat work. We'll also look at advertising in theýmodern day and its role in bringing socialýinequality conversation to the forefront andýexplore the topic of ethics in the field.

Course number: HPRO-220
Prerequisite: n/a

What does it mean for design to be beautiful, orýto be considered "good"? How do aesthetics fitýinto design for social change? While aestheticsýare often associated with ideas of style orýbeauty, the study of aesthetics has expanded toýinclude analyzing many forms of sensory experienceýin relation to values, taste, and power.ý ýThe Aesthetics of Power will explore the socialýforces shaping design knowledge and practice whileýexamining how knowledge and resources reproduceýcultural, social, and ecological imbalances. Thisýstudio course will challenge students to applyýwhat they learn in order to build moreýsophisticated design and research methods.ýýThis course is eligible for the DesignmattersýMinor in Social Innovation

Course number: TDS-442
Prerequisite: n/a

At a hinge point in American history, the 1960sýand 70s brought about radical change and theýemergence of social movements like opposition toýthe Vietnam War, the civil rights movement,ýfeminism, gay liberation and pop counterculture.ýMovies not only responded to the rebellious ideasýof the moment but also helped shape them. Studentsýwill watch a breadth and depth of films byýHollywood and indie filmmakers of the era,ýincluding Charles Burnett, Francis Ford Coppolaýand Shirley Clarke. They will develop analyticalýand critical thinking skills by examining story,ýcinematography, mise-en-scene, historical contextýand relevance. They will connect how the rage andýsocial currents of that time ripple through theýdecades and unify young people today. The goalýbeing, you'll learn to watch films more carefully,ýcommunicate ideas effectively and develop yourýarguments persuasively.

Course number: HHIS-232A
Prerequisite: n/a

This course focuses on student experiences withývarious forms of street art, exploring theýoverlaps between them and the professional worldsýof art, design, and advertising. It coincidesýwith a large, school-wide exhibition about streetýart, and the class will visit sites both on andýoff campus.

Course number: HSOC-251
Prerequisite: n/a

Is the media liberal? Are all politicians in theýpockets of corporations? Is dissent unpatriotic?ýIs the U.S. a nation to be loved or feared? Is itýa democracy? An empire? Both? How are we, asýcitizens (of any country), to find our wayýthrough the rhetoric of the left, the right, theýmiddle? How can we make sense out of theýincreasing flood of political and culturalýinformation that bursts from our computers,ýtelevisions, radios, newspapers, and movies? Whomýshould we believe? This course seeks to provideýthe tools to help make sense of it all.

Course number: HSOC-301
Prerequisite: n/a

This is a class for anyone who wants to know whatýthe hell is going on.ýýIt's going to be a week by week examination of theýwork of Independent Journalists, Commentators, andýOrganizations whose efforts, insights andýinformation are essential to finding your way toýclarity and understanding of issues and events,ýhere and everywhere else, sometimes urgent,ýsometimes absurd, and often unknown, ignored orýmisrepresented by the Corporate Mainstream Mediaýand the politicized press.ýýThe Instructor will provide weekly reading andýexamples of techniques of misinformation,ýinsinuation and manipulative innuendo.ýýThere will be a research paper, the first draft ofýwhich will be a preparatory midterm and the finalýdraft will be the final paper and determine theýfinal grade.

Course number: HSOC-301A
Prerequisite: n/a

This course will examine significant examples ofýthe sci-fi film genre from its early developmentýto the present. Social, economic, aesthetic andýtechnological filmic intentions will be consideredýas well as their literature and historicalýcounterparts. The course will consider variousýinferences of utopias and dystopias, ecologicalýforecasts and concerns, gadgetry and technologyýmystification and demystification, aliens and suchývarieties of otherness as well as when the genreýflows into other film categories such as horror,ýromance and comedy. The course will be definedýwith lectures, discussions, screenings, readings,ýand research/writing assignments; allowingýstudents to analyze the distinctive traits of theýsci-fi genre, its successes, its spoofs as well asýit cascades of clichés. This course introducesýstudents to the essentials of film analysis,ýcinematic formal elements, genre and narrativeýstructure and supports students to develop skillsýto recognize, analyze, and describe theýcomplications of our vast film record.

Course number: HNAR-313A
Prerequisite: n/a

Caltech course via cross-enrollment programýýThis course examines the causes of and solutionsýfor conflict and violence: Why do wars occur andýhow do we stop them? We cover topics such asýterrorism, ethnic violence, civil wars, theýIsraeli-Palestinian conflict, repression,ýrevolutions, and inter-state wars. We study theseýphenomena using the rational choice framework andýmodern tools in data analysis. The goals of theýclass are to explain conflicts and theirýterminations as outcomes of strategicýdecision-making and to understand the empiricalýstrengths and weakness of current explanations.

Course number: CAL-125
Prerequisite: n/a

Visual perception includes both observation andýinterpretation, and ranges from the mereýdetection of objects being present in the visualýfield to the construction of reality and theýassessment of meaning. In this course we willýstudy the anatomical structures involved inýseeing (the eye and the visual cortex), relatingýthem to both "normal" and dysfunctional seeing,ýincluding characteristics of the visual field,ýthe perception of color, brightness, and depth,ýand the recognition of faces. The psychologicalýprocesses relevant in visual perception includeýattention and selection, seeing emotionalýcontent, and the relation between seeing andýthinking. We will deal with the neurologicalýequivalent of these processes, and study bothýnormal and abnormal perception of the environmentýand the body. The objective is to gain anýunderstanding of seeing-as-action, as aýneuropsychological construction, and to becomeýmore aware of the characteristics of theýexperiential phenomena of seeing.

Course number: HSCI-230
Prerequisite: n/a

Course number: SAP-801
Prerequisite: n/a

Course number: SAP-809
Prerequisite: n/a

In this course, students will learn how the studyýof psychology can provide answers to real worldýproblems.

Course number: HSOC-120
Prerequisite: n/a

Art, Tech and Science have long been inýcollaboration, engaged in epic challenges to pushýthe boundaries of truth and understanding aboutýourselves and our world. From Leonardo Da Vinciýand Buckminster Fuller to David Hockney andýStelarc, history has often recognized the loneýresearcher / inventor who diverges from theýtradition and the norm, yet only today do weýlearn of the collaborative team effort necessaryýto discover and invent new materials, products,ýnew technologies and worlds. With the advent ofýthe digital age, 3-d printing, wearable tech andýVR science, collaborative partnerships areýforming daily between artists, designers,ýtechnologists and scientists, changing health,ýeducation, lifestyle and entertainment as we knowýit.ýýIn this course, we will explore ground - breakingýdesigns, discover the history behind uniqueýmaterials and prototype products, resulting fromýart, tech and science research. We will lead ourýconversation from joint histories, theories andýconferences of art, design, tech and science. Weýwill examine differences in methods and funding,ýyet focus deep attention on the ideas andýinventions produced by 20th and 21st centuryýarts, tech and science collaborations fromýTatlin's constructivist tower and Bloom theýcomputational game to Muse Headsets for wearableýtech. Special attention will be paid to light andýspace inventions that have profoundly influencedýthe making of art and science research.

Course number: HCRT-210
Prerequisite: n/a

How are we to think about culture's relationshipýto our current planetary climate crisis? Thisýcourse will examine the history of late 20th andýearly 21st century intersections between art andýenvironment with an eye toward the question of howýculture might help forge solutions to our currentýperil. Topics include intersectionalýenvironmentalism, ecofeminism, frontierýmasculinity, witchcraft, Land Art,ýsite-specificity, the Anthropocene, ruins, scienceýfiction and other speculative futures, amongýothers.

Course number: HHIS-206
Prerequisite: n/a

This course is an examination of films andýdocumentaries that attempt to depict and revealýpainting, sculpture and other forms of art andýarchitecture. The collection of films the courseýwillýstudy will be a nonlinear jaunt through art andýarchitecture histories revealing the predicamentsýthat face the contemporary art and architectureýinstitutional models that press forth to considerýtheir fields in a historical 'blur'; recognizingýconsciously and unconsciously the challenge ofýhistorical fragmentation. The course will exploreýthe trials film faces depicting art andýarchitecture; questioning what stereotypes mayýemerge or what beneficial information can beýhad. What do we learn about art and architectureýfrom seeing it on film and what do we miss? Or,ýwhen and how are film chronicles, documents andýfeatures helping us understand the complexityýof these fields or when and how do they misguideýthe viewer? The arrangements of films curatedýfor the course vary from new world architectureýto, realizing essential art and architectureýmovements, museum exhibitions, then to venture toýa wide and diverse variety of modern andýcontemporary artists. The course will also exploreýfilms made by artists or architects who wantýto be in control of their work avoiding artýclichés and stereotypes often circulated by aýgeneralýaudience and film world. The zoom remote courseýwill be presented through lectures, screeningsýby stream, readings, discussions, and researchýwriting assignments. This course provides thatýstudents will analyze the distinctive traits ofýfilm and the information it is strategizing orýnot, toýcommunicate about these fields. This courseýintroduces students to the necessities of filmýanalysisýand helps students develop the skills toýrecognize, analyze, and describe film and the artýandýarchitecture themes investigated by the course.

Course number: HNAR-227
Prerequisite: n/a

This course aims to provide students with anýoverview of key theoretical concepts from theý19th, 20th and 21st centuries, and apply thoseýconcepts in a rigorous, generative way to artisticýproduction. Special attention will be paid toýhistory of critical theory-as-liberation, with anýemphasis on post-colonial, feminist, and Marxistýthought.

Course number: HCRT-307
Prerequisite: n/a

Increasingly, designers use research as aýcritical component of the design process toýestablish a strong problem foundation, toýdiscover fresh, uncharted opportunities, and toýtest their design hypotheses. This courseýprovides you with a toolbox of techniques andýmethods for design-centric research as anýintegral component of the design process that canýbe used throughout your career. Beginning with aýshort survey of how research has been usedýhistorically, the course quickly moves toýhands-on projects that explore a variety ofýresearch methods and processes: from mediaýsurveys to interview techniques and the ethicalýconsiderations required with their use. Theýresearch methods explored in this class exposeýstudents to both non-discipline-specific andýdiscipline-specific techniques, balancing theýresearch process between form-making, communityýinsight, and critical reflection.

Course number: HSOC-100
Prerequisite: n/a

This course will introduce students to theýpractice of Design Research with a focus on theýhistory, methodologies, methods, and toolsýutilized in professional practice. We willýexamine how research can provide a compellingýlogic for design, and employ a range of researchýactivities including ethnographic interviews,ýobservations, and generative approaches. Studentsýwill learn how to plan and conduct an originalýdesign research project, analyze the informationýgathered, and articulate opportunities forýcreative projects. The ethical considerations ofýsocial research practice will be emphasized andýexamined through texts and student experiences.ýWorking in small groups, students willýparticipate in reflective, inquiry-based critiqueýmodels contributing to a collaborative, iterativeýeducational environment. Students willýcommunicate what they learn through weeklyýpresentations, reflective writing, and a finalýpresentation. The final creative brief willýcommunicate the research process, key insightsýand opportunities, recommendations for design,ýand speculative visualizations or prototypes.

Course number: HSOC-101
Prerequisite: n/a

As fine artists, we know that concepts,ýmaterials, and processes combine to make a work,ýbut how can we nurture our innate curiosity toýfeed our work more deeply? Get brave withýresearch!ý ýIn this class we empower your creative process toýreach heightened levels of curiosity leading to aýricher artistic vision. We will map researchýstrategies to find undiscovered inspirationýwithin areas you are already passionate about.ýYou will chart discoveries and deal withýinevitable failures as you expand your process ofýinquiry to make new work. Faculty will bringýunique insights from social science research andývisual art practice to help you embrace braveýchoices in unknown territory. We will studyýartists' research processes in a variety of areasýand mediums and use scientific inquiry,ýliterature, social science methodologies,ýphotography, prototyping, and materialýapplications to explore new avenues in yourýpractice.ý ýThis class is a 3-hour project-based seminar withýweekly assignments including writing, artwork,ýaudio-visual presentations, and field trips.

Course number: HSOC-102
Prerequisite: n/a

Psuedo course block

Course number: HSOC-100.PC
Prerequisite: n/a

This class grapples with the hardest and deepestýof all questions: Is life a matter of fate? Isýknowledge power? Is there a soul? Is existenceýabsurd? Is beauty in the eye of the beholder?ýDoes morality even exist? We will read selectionsýfrom historical philosophical texts and addressýintellectual watersheds that haunt the modernýmind, from "Plato's Cave" in ancient Greece toýMichel Foucault's "Madness and Civilization."ýAbove all, we will learn an Art of Thinking, inýwhich there are no answers, but there aremomentsýof insight and clarity. Students will be expectedýto read difficult material, write opinionatedýpapers, and contemplate ideas that can profoundlyýalter our lives.

Course number: HCRT-300
Prerequisite: n/a

ArtCenter Berlin is a trans-disciplinaryýtopic-based project that provides ACCD students aýunique cultural, political, and historical lensýinto Europe, Germany, and Berlin, in particular.ýContext is critical, the zeitgeist of the Berlinýlocation provides important grounding forýinvestigation and exploring new ways of thinking.ýThe project tests ArtCenter student's conceptualýabilities in unfamiliar surroundings whileýapplying their technical tool kit to createýrelevant, real-world solutions.

Course number: HSAP-884B
Prerequisite: n/a

ArtCenter Berlin is a trans-disciplinaryýtopic-based project that provides ACCD students aýunique cultural, political, and historical lensýinto Europe, Germany, and Berlin, in particular.ýContext is critical, the zeitgeist of the Berlinýlocation provides important grounding forýinvestigation and exploring new ways of thinking.ýThe project tests ArtCenter student's conceptualýabilities in unfamiliar surroundings whileýapplying their technical tool kit to createýrelevant, real-world solutions.

Course number: HSAP-884A
Prerequisite: n/a

ArtCenter Berlin Research Project Topic is aýtrans-disciplinary topic-based project thatýprovides ACCD students a unique cultural,ýpolitical, and historical lens into Europe,ýGermany, and Berlin, in particular. Context isýcritical, the zeitgeist of the Berlin locationýprovides important grounding for investigation andýexploring new ways of thinking. The project testsýArtCenter student's conceptual abilities inýunfamiliar surroundings while applying theirýtechnical tool kit to createýrelevant, real-world solutions.

Course number: HSAP-884S
Prerequisite: n/a

Contemporary Questions examines a current topic orýtheme of critical importance that is affectingýlife, driving support - or dissent - in Berlin,ýGermany or the E.U. This class will expandýstudent's view of the world through the lens of EUýthinking. How does Berlin's complex past,ýinfluence decisions it must make for the future?ýUnderstanding the complex relationships within theýtightly knit but culturally and economicallyýdiverse European Union will be equally asýimportant as addressing diversity in the localýdemographics inside Germany.ýýWe might address issues around immigration andýrefugees, cultural integration and tolerance,ýclimate change and energy consumption - or howýcolonialism is being addressed in the EU.ýStudents will take different positions to graspýlocal, national or continental EU points of viewýand brainstorm scenarios to offer solutions. ýýCourse Learning OutcomesýContemporary Questions will:ý- promote cross-disciplinary discourse and improveýoral skills around collective problem-solving.ý- connect students with relevant contemporaryýissues that drive the cultural, political andýeconomic landscape from Berlin (local) to the EUý(continental)ý- examine the complex relationship betweenýcommunities: within Berlin or between EUýcountries.ý- highlight accountability as a Global Citizen -ýidentifying critical local issues within a globalýcontext.ý- utilize critical thinking and strategy skills inýnon-design disciplines. (economic, political,ýcultural)

Course number: HSAP-884D
Prerequisite: n/a

Berlin provides a deeper understanding of Germanýculture, the history of the country and theýmentality of its people. Being based in theýcapital of Germany, a strong emphasis is put onýthe unique situation and position of Berlin in theýpast, present and in the future.ýýIn order to take full advantage of the fact the weýare "vor Ort", lectures are accompanied byýextensive field trips. These include museums,ýexhibitions and architectural landmarks but - asýimportant - students will experience the rhythm ofýthe city and various urban lifestyles ofýneighborhoods. Traveling, being outside the studioýis an essential part of the course.ýýOpen your eyes, your mind, notice the smallýdetails, be aware, discover and discuss. Studentsýwill always have a camera, pen and paper to sketchýand take notes.ýýRather than memorizing dates, numbers andýhistorical facts, this course is as holistic andývisual as possible. Movies, museums, architectureý- a sense of 'place' will help students learnýabout Berlin and Germany but - even more importantý- to fully immerse and experience your new town.

Course number: HSAP-884C
Prerequisite: n/a

How do we authenticate an animation cel, tellýancient artifacts from modern artifice, and unmaskýart forgers? This course explores recent trends inýthe world of art crime and the growing use ofýmaterials science and forensic analysis toýauthenticate, preserve, and repatriate culturalýheritage. The age and makeup of creative works canýbe determined using carbon dating, multispectralýimaging, and other scientific tools. In thisýhands-on course, participants will gain an ýunderstanding of artists' materials, applyýscientific techniques to see otherwise invisibleýclues to origin and alteration, and get anýinsider's look at the hidden histories ofýartifacts and the meaning of authenticity.

Course number: HSCI-207A
Prerequisite: n/a

Through examining representations of Chinese,ýJapanese, and Koreans in visual media (film,ýfashion, art, and advertising), this course willýexplore constructions of race and gender as seenýthrough Western eyes--which were stereotyped andýracist during the 19th and early 20thýcentury--and how and why that changed in theýlatter part of the 20th century.

Course number: HCRT-301
Prerequisite: n/a

This course explores media representations ofýAsian Americans, with a focus on motion pictures,ýfrom the early twentieth century to theýcontemporary period. Starting with the silent filmýera, we will examine Hollywood portrayals ofýAsians and Asian Americans and consider how theseýdepictions have changed-and persisted-over time.ýWe will also look at the participation of AsianýAmerican performers and filmmakers in bothýmainstream and independent productions, includingýthe emergence of an Asian American cinema movementýand the creation of new or alternativeýrepresentations of and by Asian Americans.ýThroughout the course, we will analyze theýintersections of race, ethnicity, gender, andýclass in films while situating these works withinýtheir relevant social and political contexts.

Course number: HHIS-316
Prerequisite: n/a

This course covers the principles of engineeringýthat guide the development of automobile designýand manufacture, including automobileýfunctionality and an overview of the demandsýplaced on the design process.

Course number: HSCI-200
Prerequisite: n/a

This course focuses on the experience of aýtransportation designer after they begin theirýcareer. ýIt will analyze different corporate models andýlook at how design fits into the overall company'sýbusiness strategy as it partners with engineering,ýmarketing, product planning and other key areas ofýthe company. Industry executives will regularlyýparticipate as subject matter experts to giveýadditional perspective.

Course number: HBUS-302
Prerequisite: n/a

In one course it is not possible to show theýentirety of avant-garde film history, but only aýslender chunk of it, like a core sample takenýfrom a tree commonly thought to be dead.ýUnfortunately, history (in the guise of theýmarket economy's triumph) has not been very kindýto the avant-garde canon: films have fallen outýof distribution; texts have gone out of print;ýwhole careers have disappeared. In spite of theseýdepredations, idealists still believe thatýalternative film practices have not yet exhaustedýthemselves. Avant-Garde Film's screenings andýreadings may even suggest possible strategies forýan independent cinema that conceives of itself asýmore than just a fawning poor relation ofýHollywood.

Course number: HNAR-331
Prerequisite: n/a

Avant-Garde Film 2 continues the film screeningsýand readings of Avant-Garde Film 1, however theýfirst is not a prerequisite for this course. Inýone course it is not possible to show theýentirety of avant-garde film history, but only aýslender chunk of it, like a core sample takenýfrom a tree commonly thought to be dead.ýUnfortunately, history (in the guise of theýmarket economy's triumph) has not been very kindýto the avant-garde canon: films have fallen outýof distribution; texts have gone out of print;ýwhole careers have disappeared. In spite of theseýdepredations, idealists still believe thatýalternative film practices have not yet exhaustedýthemselves. Avant-Garde Film's screenings andýreadings may even suggest possible strategies forýan independent cinema that conceives of itself asýmore than just a fawning poor relation ofýHollywood. Attendance is particularly importantýin this class, as many of the films are notýavailable on DVD.

Course number: HNAR-335
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-AY020
Prerequisite: n/a

This course is a case study of one school, whichýis still emblematic for a new approach to theýconcepts of art, design, and technologies. Sinceýthe Bauhaus was the center of new ideas andýpractices in teaching, architecture, design, andýthe social position of the visual arts, studyingýits detailed history leads students to theýcritical understanding of the current position ofýthese issues. The Bauhaus's historical roleýreveals the exposure of art and design to theýpolitics within and without the walls of theýschool. A survey of the New Bauhaus in Chicagoýilluminates the particular American aspects ofýthe Bauhaus, and its afterlife in the U.S.

Course number: HHIS-294
Prerequisite: n/a

An advanced argument-writing class in whichýstudents will read, study, and generate persuasiveýwriting in "non-traditional" forms or withýunexpected rhetorical strategies, leaningýespecially toward image and page/publicationýdesign as part of argumentation. The class willýalso: build and exercise radical visual literacy;ýrequire responsible, generative research; positýtheory as making; introduce students to a range ofýtopics, and ways thoughtful makers engage with theýworld; and inspire reevaluation of assumptionsýabout persuasive writing-what it is and what itýcan be.

Course number: HNAR-366
Prerequisite: n/a

Students are challenged to look at the nextýincarnation of the Co-Working trend, examiningýpossible hybrids that engage all of our senses andýoffer opportunities to redefine the future ofýwork. They will look at the psychological andýsocial aspects of Berliners more entrepreneurialýattitude ti different kinds of work - and how toýconstruct meaningful physical environments aroundýthem to deliver the most effective impact.

Course number: HSOC-807A
Prerequisite: n/a

With one of the most vibrant cultures in theýworld, Berlin is a highly multicultural city withýa rich and complex history. In this course, weýwill examine how notions of German identity haveýbeen shaped by that history and investigate itsýramifications in contemporary art. The travelýportion of the Berlin trip will visit museums,ýgalleries and historical sites, as well as allowýstudents to meet artists and curators and attendýevents. This class is composed of a pre-tripýmeetings (approximately 7 three-hour classes) thatýwill include lectures, readings, screenings; andýthen an immersive 12-day study-away experience inýBerlin during the Spring/Summer break.

Course number: HSAP-802A
Prerequisite: n/a

Bio-inspired Design is a new approach to problemýsolving that uses biological systems asýinspiration for non-conventional solutions to theýdesign and engineering issues currently facing theýhuman race. Two different but complementary pathsý(problem-driven, biology-driven) will beýintroduced as methods to explore natural systems,ýusing examples from organisms with unconventionalýstructures, unusual mechanisms, or clever sensingýand processing methods. By using scientificýanalysis of the mechanisms which underpin a livingýsystem's success, bio-inspired design moves from aýmere copying of nature to contributingýresponsible, sustainable and innovative solutionsýto human needs. This general science course isýopen to all majors, especially those in theýMaterials Science minor, Transportation Design,ýProduct Design, and Interactive Design (includingýWearables).

Course number: HSCI-223A
Prerequisite: n/a

Biology is promised to be the technology of theý21st century, where breakthroughs in science andýengineering will offer longer, healthier livesýand cleaner, more sustainable technologies. Thisýcourse focuses on the history and potentialýfutures of biomedicine and biotechnology, withýparticular emphasis on the social and politicalýcontexts of the science. Case studies willýexplore topics in evolution and ecology,ýmicroscopy and cellular imaging, DNA sequencingýand genomics, sex, gender, and reproduction,ýgenetic engineering and agriculture, tissueýengineering, and neuroscience. Course materialýwill span from reading of scientific texts toýanalysis of work by bioartists criticallyýengaging with the contemporary biosciences. Theýcourse is intended as a broad introduction toýissues in biology and bioart; previous courseworkýin biology is not required.

Course number: HSCI-223
Prerequisite: n/a

A society in which one's retina can be used as aýkey, where remote sensing technologies track ourýdaily routines, and where hygiene and policingýhave reshaped the public sphere - this is whatýMichel Foucault has called the "biopolitics" ofýmodern life. This distinct emphasis on the bodyýand biological life can be found in every domain,ýfrom the discipline of the individual to theýgovernance of populations, urban space, and theýstate. In this class, we discuss Foucault's theoryýin light of our contemporary situation, drawing onýpolitical philosophy, art, film, and our ownýexperiences. Following on from Foucault, we willýalso look at how other writers and theorists haveýinterpreted and adapted these ideas to look atýquestions of political activism, immigration andýhuman rights, as well as gender and sexualýpolitics. Seminar discussions and essays willýprovide students with an opportunity to criticallyýexamine these theories and develop their ownýunderstanding within the discourse.

Course number: HCRT-216
Prerequisite: n/a

A society in which one's retina can be used as aýkey, where remote sensing technologies track ourýdaily routines, and where hygiene and policingýhave reshaped the public sphere - this is whatýMichel Foucault has called the "biopolitics" ofýmodern life. This distinct emphasis on the bodyýand biological life can be found in every domain,ýfrom the discipline of the individual to theýgovernance of populations, urban space, and theýstate. In this class, we discuss Foucault's theoryýin light of our contemporary situation, drawing onýpolitical philosophy, art, film, and our ownýexperiences. Following on from Foucault, we willýalso look at how other writers and theorists haveýinterpreted and adapted these ideas to look atýquestions of political activism, immigration andýhuman rights, as well as gender and sexualýpolitics. Seminar discussions and essays willýprovide students with an opportunity to criticallyýexamine these theories and develop their ownýunderstanding within the discourse.

Course number: HSOC-216
Prerequisite: n/a

In continued partnership with Kindred Space LosýAngeles, students will collaboratively furtherýdesign established comprehensive multi-modalýawareness campaigns with the goal of facilitatingýaccess to equitable child birthing experiences,ýincreasing awareness around black midwifery andýimproving health outcomes while addressing theýBlack Maternal health crisis in America.

Course number: TDS-400
Prerequisite: n/a

Black babies born in Los Angeles County are threeýtimes more likely than white babies to die beforeýtheir first birthday, and Black moms are fourýtimes more likely than white moms to die ofýcomplications related to pregnancy and childbirth.ýThe truth is that the gap in mortality ratesýbetween black and white babies has existed forýdecades. And it has not budged. Research isýshowing systemic racism, lack of midwifery careýoptions, and lack of midwives & doulas of color asýthe causes for these shocking disparities. ý ýIn response to the black maternity health crisisýeffecting black birthing people in this country,ýKindred Space LA, which opened to the public iný2018, offers complete midwifery care creatingýspace for the physical, emotional and practicalýpreparation for birth and life with a newborn.ýKindred Space LA is the only Black owned birthingýcenter in Los Angeles. Located in South LosýAngeles, Kindred Space LA is a fully operationalýbirthing center and clinical training site forýstudents serving the community of color. Women ofýcolor were more likely to say they were treatedýunfairly during birth and more than half saidýthey'd be interested in midwifery care for futureýpregnancies. America's black babies are paying forýsociety's ills. What can we do as designers to fixýit?ýýIn this Designmatters and Humanities+Sciencesýco-hosted studio, students will collaborativelyýdesign comprehensive multi-modal awarenessýcampaigns with the goal of facilitating access toýequitable child birthing experiences, increasingýawareness around black midwifery and improvingýhealth outcomes while addressing the BlackýMaternal health crisis in America.

Course number: TDS-399
Prerequisite: n/a

This course explores African American integrationýinto mass culture since the sixties. We willýfocus on the origins and evolution of Hip Hop fromýa local urban working-class sub-culture into aýnational and international genre and industry. Weýwill examine a twenty-year period (1972-1992) ofýunprecedented expansion of black representation inýtelevision, cinema and popular music, but also ofýnew social crises facing black communities, suchýas the interrelated problems of joblessness,ýcrime, hyperpolicing and mass incarceration. ýýRequired Text: Tricia Rose, Black Noise: RapýMusic and Black Culture in Contemporary Americaý(Hanover & London: Wesleyan University Press/ýUniversity Press of New England, 1994).

Course number: HSOC-253
Prerequisite: n/a

This course explores African American integrationýinto mass culture since the sixties. We willýfocus on the origins and evolution of Hip Hop fromýa local urban working-class sub-culture into aýnational and international genre and industry. Weýwill examine a twenty-year period (1972-1992) ofýunprecedented expansion of black representation inýtelevision, cinema and popular music, but also ofýnew social crises facing black communities, suchýas the interrelated problems of joblessness,ýcrime, hyperpolicing and mass incarceration. ýýRequired Text: Tricia Rose, Black Noise: RapýMusic and Black Culture in Contemporary Americaý(Hanover & London: Wesleyan University Press/ýUniversity Press of New England, 1994).

Course number: HHIS-253
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-102A
Prerequisite: n/a

Prada pulls racist trinkets. Netflix airsýtransphobic special. Cannes awards gender-biasedýads.ýýWhat do these headlines tell us? Brands are everyýbit as social as they are commercial. Viewedýthrough the lens of identity, brands hold theýpower to exploit, marginalize, and even createýsocial identities. Similarly, brands play aývital-and sometimes violent-role in defining theý"other," blurring the line between profit andýpolitics. In this studio, students learn how toýread brands as belief systems that inscribe socialýcodes. Lecture content and course readings draw onýthe fields of psychology, political theory, brandýstrategy, and more to underscore how brands likeýPrada, Netflix, Cannes (and more) affect race,ýgender, and class relations, among myriad otherýsociopolitical categories. Student teams translateýcourse learnings into a brand identity system ofýtheir making that resists negative socialýstereotypes. They may also find some newýidentities of their own in the process.ý ýThis course is eligible for the DesignmattersýMinor in Social Innovation.

Course number: TDS-432C
Prerequisite: n/a

The purpose of this class is to gain a moreýthoughtful and critical understanding of a brand,ýits history, current trends, social and ethicalýimplications, and cultural context, as well asýthe brand's relationship to our individual andýgenerational identity. We will exploreýsustainability and its impact on brand value, andýwhat it means to create truly responsible design.ýStudents will conduct and evaluate various formsýof research and develop brand platforms andýcreative briefs to inform and inspire innovativeýsolutions within their current design projects.ýThrough class discussions of design thinking,ýcritiques of design work, guest speakers,ýpresentation and analysis of case studies, andýdevelopment of branding strategies and strategyýdiagrams, we will examine how a brand is definedýand translated through environmental design,ýproduct, graphics, advertising, andýcommunications. We will work in multidisciplinaryýteams in a design charette format to createdýbranded projects to directly implement what weýhave learned over the term.

Course number: HSOC-210
Prerequisite: n/a

The objective of this class is to gain a moreýthoughtful and critical understanding of a brand,ýits current trends, social and ethicalýimplications, cultural context, as well as theýbrand's relationship to our individual andýgenerational identity. We will explore what itýmeans to create purpose-driven brands, groundedýin values, culture, and authenticity that connectýand create meaning.ýýStudents will uncover key insights from variousýforms of research and analysis to develop brandýplatforms that will inform and inspire innovativeýdesign solutions. Through class discussions,ýstudio visits, field trips and case studies, weýwill examine how a brand is defined andýtranslated through its various touchpoints. Weýwill work in interdisciplinary teams to developýcreative briefs and branding strategies toýre-position a brand and communicate compellingýand relevant stories using the tools that we haveýlearned over the term.

Course number: HSOC-212
Prerequisite: n/a

Broken Music is a seminar class about the historyýand practice of sound in the arts beginning inýthe early 20th century, through post war, and upýto the present. We will look at and listen to theýsonic Avant-Garde of Europe, experimental soundýpractices in the United States, in other parts ofýthe world, and alternative histories andýpractitioners will also be presented. Thisýseminar is particularly interested in theýmultiplicity of sound in contemporary artýpractice and how that can be connected to otherýknown art movements and genres of fine art. Theýhistory, technological advancements, currentýdiscourses, and contemporary practices will beýpresented as they are related to the sonic fineýarts. Readings, reading responses, classýdiscussions and presentations will comprise theýclass time. A selection of texts that situate andýtheorize sound in relation to art practice willýbe provided for reading and class discussion.

Course number: HHIS-276
Prerequisite: n/a

Course number: HBPP-TRNSFR
Prerequisite: n/a

This class will examine business and professionalýpractices that help form the basis of a career inýphotography. The goal is to begin to create aýpractical business framework for aesthetic andýcommercial growth in a changing media landscape.

Course number: HBUS-201
Prerequisite: n/a

Building a successful career requires not justýtalent, but an understanding of what it takes toýbe in business. Business 101 is an introductionýto the business side of creative practice. Theýcourse is divided into two parts: generalýbusiness information, including starting up,ýintellectual property, and money; followed byýtopics specifically geared towards theýillustration, photography, or design business,ýincluding marketing and self-promotion, pricingýand estimating, contracts, and clientýrelationships.

Course number: HBUS-101
Prerequisite: n/a

This class offers an insider's view of theýbusiness side of film and television developmentýand production, from the acquisition of rightsýand the negotiation of agreements for writers,ýproducers, directors, and actors, through theýmany avenues of distribution, includingýconsideration of ancillary markets and so-calledýnew media. Several class meetings will featureýguest speakers, including top industryýprofessionals such as studio executives,ýdirectors, producers, agents, etc. This class isýopen to all majors.

Course number: HPRO-230
Prerequisite: n/a

The business minor capstone project showcases theýlearning students experience throughout variousýbusiness minor courses, develops deeper knowledgeýand puts it into practice with hands-on iteration.ýThe Launch Prep course supports the capstoneýproject with assignments and mentorship thatýaligns innovation, making, and prototyping skills,ýwith startup development tools and businessýexpertise. Students learn to build a repeatableýformula to validate and launch new businesses andýproject ventures and create a practical rolloutýplan of milestones to meet student's businessýgoals during later terms at ArtCenter into theýfuture. Similarly, students may work throughýtheir capstone projects as an independent orýguided study when The Launch Prep course is notýoffered.ý ýFor the capstone project students can choose toýfocus on a design area of interest and align itýwith entrepreneurship, social entrepreneurship,ýcorporate intrapreneurship, licensing,ýpartnerships, or strategy. Existing concepts andýprojects are welcome but not required in thisýinterdisciplinary experience. Projects can beýindependent or team-based collaborations. Topicsýcovered include tactical research, in-personýinterviews, customer discovery, market analysis,ýfinancial strategy, intellectual property,ýmanufacturing, production, and scaling a projectýor business.

Course number: HBSN-350
Prerequisite: n/a

Course number: HBUS-TRNSFR
Prerequisite: n/a

This entry-level survey class is intended toýprovide students with an overview of howýbusinesses operate and the economic environment inýwhich they compete. Its scope is wide, to provideýa solid grounding in business and economics toýstudents whether they leave college asýfreelancers, entrepreneurs, employees of art andýdesign agencies, or employees of companies usingýart and design to create and sell products andýservices. For those continuing with furtherýbusiness courses, it will introduce many subjectsýthat are covered in more depth in additionalýelectives. Students will leave the class inspiredýto be inquisitive about the business side of artýand design, and with a basic knowledge of businessýand economic concepts and terms to help themýfunction and communicate more effectively within aýbusiness environment.

Course number: HBUS-110
Prerequisite: n/a

The skills learned throughout your education atýArt Center are invaluable for acquiring aýposition in the field of product design. But inýthis extremely competitive field, skills aloneýwill not ensure a successful career. Individualsýwho excel, whether as entrepreneurs, corporateýdesigners, or consultant designers, have embracedýand exploited their role in the bigger universeýof industry. Designers who understand business,ýcorporate disciplines and systems, and how designýcan strategically contribute to businessýobjectives and goals enjoy rapid advancement andýa higher level of career success.

Course number: HBUS-300
Prerequisite: n/a

How business affects and is affected by CMF. Weýwill discuss Industrial Design as it relates toýbusinesses and their customers, negotiation withývendors, Intellectual property. How to engage withýMakers, customers. Managing info flow, alignmentýwith internal management and outside vendors.ýStudents will receive instruction on Copyright,ýTrademark and Patent as well as publicity andýprivacy rights, non-disclosure agreements andýobligations and overview of contracts and dealýmemos/term sheets.

Course number: HSAP-814B
Prerequisite: n/a

Hands-on and theoretical material understandingýand creation. We will cover the history,ýproperties and strategies of materials applied toýproducts. Students will cover topics on mechanicalýproperties, optical properties, thermal/electricalýproperties and material selection strategies.

Course number: HSAP-814A
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-001A
Prerequisite: n/a

Campaign Cinema: Politics in American CinemaýýThis course is a review of American dominantýfilms that venture into the themes and visualýessaying of American politics and their rituals.ýThe focus on American presidential campaigns isýthemed since early American film history. Theýcourse will outline chronologically thatýnarrative interest and examine films thatýcontemplate subjects of presidential campaignýstagecrafting, attempting to connect voterýparticipation, yet often far off from the actualýassemblies of administrative and legislativeýprocesses. Also to be considered, journalism, aýprominent intersecting topic of this filmýhistory, as they are the purveyors and tattlersýof campaign stagecrafting. What are partyýplatforms and how are they staged inýspeechwriting and how are they made actual inýlegislation are grounds for this examination toýhelp the student realize and progress theirýindividual citizenship. Democracy and itsýconfigurations will be examined as we parallelýconsider this history of film and its politicalýpropositions. The course will also review andýdiscuss political ads, current and from the pastýas well as cinematic structures will be examinedýand critiqued.

Course number: HNAR-360
Prerequisite: n/a

Human error and design flaws are the leadingýcauses of some of the most devastating engineeringýdisasters in history. This course will introduceýstudents to a variety of materials science topicsýand their relevance to design through case studiesýof engineering disasters, including historicalýevents such as the sinking of the Titanic, theýexplosion of the space shuttle Challenger, and theýdevastating environmental effects of Teflonýproduction. While this course will provideýstudents with an in-depth understanding ofýmaterials properties and limitations leading toýthese catastrophic failures, the design flawsýwhich ultimately enabled these disasters to occur,ýas well as potential ethical lapses, will beýdiscussed.

Course number: HSCI-218A
Prerequisite: n/a

Stemming from the ubiquity of "Made in China" inýour daily lives, this course focuses on ýthe history of Chinese ceramics from variousýperspectives. Of the diverse types of ceramicsýthat have flourished in China, porcelain fromýJingdezhen has experienced the broadest reachýthroughout the world. A fundamental objective ofýthe course is to provide a basic understanding ofýceramics and to develop analytical skills andýcritical vocabulary to discuss material, style,ýand techniques of Chinese ceramics.ýýThis course focuses on the porcelain center ofýJingdezhen and explore the nature of its globalýscope. Organized thematically and fromýcross-disciplinary perspectives, the class willýanalyze the impact of local resources, socialýorganization, consumer trends, and interregionalýrelations on the production of polychromes,ýimperial monochromes, narrative illustration, andýfantasies and folklore. By studying porcelain fromývarious methodologies including scientificýconservation, archaeology, anthropology, materialýculture and art history, the class will probe howýclose observation of porcelain-making interrogateýconventional boundaries defining art, design, andýcraft while at the same time challenging theýwhiteness of porcelain histories.

Course number: HSOC-327
Prerequisite: n/a

Stemming from the ubiquity of "Made in China" inýour daily lives, this course focuses on ýthe history of Chinese ceramics from variousýperspectives. Of the diverse types of ceramicsýthat have flourished in China, porcelain fromýJingdezhen has experienced the broadest reachýthroughout the world. A fundamental objective ofýthe course is to provide a basic understanding ofýceramics and to develop analytical skills andýcritical vocabulary to discuss material, style,ýand techniques of Chinese ceramics.ýýThis course focuses on the porcelain center ofýJingdezhen and explore the nature of its globalýscope. Organized thematically and fromýcross-disciplinary perspectives, the class willýanalyze the impact of local resources, socialýorganization, consumer trends, and interregionalýrelations on the production of polychromes,ýimperial monochromes, narrative illustration, andýfantasies and folklore. By studying porcelain fromývarious methodologies including scientificýconservation, archaeology, anthropology, materialýculture and art history, the class will probe howýclose observation of porcelain-making interrogateýconventional boundaries defining art, design, andýcraft while at the same time challenging theýwhiteness of porcelain histories.

Course number: HHIS-327
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-063A
Prerequisite: n/a

Designers rarely have access to children and teensýor their worlds when creating products, images,ýexperiences and environments for them. Therefore,ýfine distinctions between age transitions and theýday-to-day experiences of children and teens areýoften overlooked. Children and teens are a complexýuser groups where knowledge of child development,ýchildren and youth culture today, play behavior,ýethics in research and children's rights are allýimportant to create better products, services andýenvironments for healthy child development.ýýThis course is for students interested inýexpanding their research methodologies whenýcreating diverse products and experiences for kidsýand teens. It is open to students of diverseýdisciplines that would like to learn newýapproaches to inform their work from aýchild-centered perspective.ýýThe course will include relevant theories, playýexercises, guest experts and collaborative andýindividual assignments. It covers primary andýsecondary research methodologies on designing forýand with children. Primary methods includeýobservations, concept testing, interviews,ýsurveys, focus groups, play testing, user testing,ýcollaborative design, and post distribution andýlongitudinal studies. Topics for secondaryýresearch include child development theories,ýhistorical research, children and youth culture,ýpop culture, design culture, cross culturalýperspectives, trend research, sustainableýproduction materials and technology, safety, humanýfactors, inclusive design, ethical businessýpractices.

Course number: HSOC-368
Prerequisite: n/a

This course has you consider children'sýliterature and asks you to write fiction orýnon-fiction for children. You need not be aýwriter to take this course--you learn by doing.ýWe will read and analyze stories for children,ýranging from myths to modern works, from youngýchildren to young adults. We will examineýnarrative structure and some of the basicýrequirements for writing books for publication.ýYou should leave the course with a betterýunderstanding of the role literature for childrenýplays in their lives, and how to create it.

Course number: HNAR-310
Prerequisite: n/a

American commercial films have been the subjectýof sustained commentary and debate for nearly asýlong as they have been produced. Their work onýspectators in society is understood rather wellýby marketing executives, by intellectuals, andýindeed by many "average" consumers, if theýrelentless self-reference of contemporary moviesýcan be accepted as proof. The latest blockbusterý-- soon to be commonly acknowledged classics --ýaddress us as though they are the onlyýsatisfactory alternative. They (and their flacks)ýsuggest that it would be perverse to wantýanything more from a movie. And yet, some peopleýgo looking elsewhere for film history. There isýno unifying theory of works that offer resistanceýto the dominant model. A number of disparateýtendencies and histories must be taken intoýaccount. This course takes up a discussion of aýfew of them in an attempt to suggest possibleýstrategies for those still interested in pursuingýa contestatory film practice.

Course number: HNAR-351
Prerequisite: n/a

Your ability to thrive in an increasingýinterconnected world is vital to having aýsuccessful career. Leadership in a creativeýcontext means being able to direct, influence andýpersuade people of all kinds. Being powerful andýeffective requires an understanding of when toýtake charge and when to join forces to work as aýteam. Collaborative leadership is about workingýtogether to achieve goals.ýýThis course will explore leadership styles andýdecision-making; the impact of culture, genderýand heritage on leadership; communication andýrisk taking; motivating and negotiating withýpeople; and team dynamics. You will learnýleadership skills via experiential exercisesýwithin ever evolving group scenarios throughoutýthe term. Guest speakers and a range of readingsýon leadership theory will demonstrate a varietyýof approaches to the concept of modernýcollaborative leadership.

Course number: HPRO-331
Prerequisite: n/a

How did the violence of the colonialism transformýlife across the Americas? How have the predatoryýand racist logics of colonialism manifested wellýbeyond explicit acts of domination? How haveýpractices of knowledge, art, and designýperpetuated colonial relations and how might theyýhelp undo them? Together, we will consider theýpast and future of the Americas through stories ofýscience and technology; art and design;ýenvironment and extraction in the (post)colonialýeras. We will learn about the colonial project andýits logics as well as a range of historical andýcontemporary strategies for dismantling colonialýinstitutions and building alternatives. To do so,ýwe will begin by situating ourselves in theýhistory of the ancient and colonial Americas;ýexamine the fall of colonial governance and itsýpernicious afterlives; and survey the work ofýIndigenous and Settler practitioners engaged inýwork of resistance and resurgence. Ourýconversations and assignments will emphasize bothýthe scholarly analysis of colonialism as well asýthe implications of such thinking for our ownýeveryday work as citizens, thinkers, artists, andýdesigners.?

Course number: HSOC-382
Prerequisite: n/a

This course reflects on collaboration as a way ofýunderstanding creative practices and, moreýbroadly, as a fundamental human experience.ýDespite the apparent undermining of theýindividual genius by the advent of postmodernýthought, creative practice is still predominantlyýan individual enterprise. However, the last fewýyears have witnessed a significant change in theýconditions that privilege individual creation:ýeconomic crisis and social movements have emergedýin every continent, creating spaces thatýstimulate values of collaboration, alternativeýeconomies and social engagement. We will exploreýrecent social and artistic accounts ofýcollectivism by artists, philosophers,ýsociologists and writers, and revise currentýexamples of collective artistic endeavors.ýStudents will creatively engage in collaborationýexercises and present the readings to the classýby means of lectures, performance, and/or otherýresources and artifacts related to theirýprofessional practices.

Course number: HCRT-215
Prerequisite: n/a

This course will engage students in reading andýmaking comics, zines, and other systems ofýdissemination, offering these as a site forýargument, for curation, where the maker canýexplore a theme of interest not just byýreproducing their own work, but by collectingýmaterial from multiple contributors and presentingýit in thoughtful combination. These kinds ofýprojects: exercise writing and organizationalýskills plus critical and editorial thinking;ýinspire those the maker asks to submit; andýfoster/promote/demonstrate the idea of creativeýcommunity, which is especially meaningful inýdivisive, distanced times. Students of all majorsýare encouraged to enroll: anyone with a creativeýpractice, regardless of skill set, can work withinýthis form.

Course number: HNAR-223
Prerequisite: n/a

Computers and devices have become ubiquitous inýour lives. This course aims to provide studentsýwith an understanding of the role computation canýplay in solving problems and to help students,ýregardless of their major, feel justifiablyýconfident of their ability to write usefulýprograms and be creative. Students will learnýhow software works, how to think about problemsýlogically and how to translate solutions intoýalgorithms and code. Students will put theseýtechniques to work creating their own gameýinspired by the classic 80's arcade. The classýuses the Python language but NO previous codingýexperience is required.

Course number: HSCI-234
Prerequisite: n/a

This post-1960 Art History class intends toýintroduce key historical artistic movements, byýproviding contextual (social, political,ýcultural) landmarks, and by highlighting someýmajor artists' figures (from Hans Haacke, toýSturtevant, to DIS Magazine.), to underline theýruptures and continuity of art history.Allýtogether, a constant focus on practicesýchallenging traditional artistic classificationsýand borders--through appropriation, sound, craftýor queer problematics--will be explored in aývariety of manners. Through a wide range ofývisual material (photos and videos of artists'ýworks, exhibitions views), along with theoreticalýmaterial (artists' statements, catalogues'ýessays, and press responses), each class aims toýgive a broad understanding of the artworksý'intents and receptions, offering a good overviewýof high and popular culture at large.

Course number: HHIS-226
Prerequisite: n/a

This course traces the emergence of China as aýcontemporary society through its visual culture.ýAfter World War II the country was dominated by aýSocialist Realist aesthetic in art, film, andýdesign for publications and posters. During theýera of "reform and openness" in the 1980s,ýartists and students were finally allowed to seeýwhat the rest of the world was doing, andýlaunched their own experiments inýart-making--even inventing a movement calledýPolitical Pop, which caught the attention ofýcurators and collectors in the West. Topics to beýcovered include the dominance and subversion ofýthe written language, the re-use of folk imagery,ýand the tradition of disguised protest in art.

Course number: HCRT-330
Prerequisite: n/a

One of the most exciting cinema cultures to emergeýin recent decades is that of Mainland Chineseýcinema. Mired in propaganda for the first threeýdecades after the Communist revolution (1949),ýChinese cinema finally found its authentic voiceýwith the Fifth Generation, which emerged in theý1980s. These talented and ambitious filmmakersýwere graduates of the Beijing Film Academy, whichýhad been shut down during the disastrous CulturalýRevolution (1966-1976), and they were eager toýtell stories truthful to the modern Chineseýexperience --- while eloquently using cinemaýlanguage. The films they made --- such as "YellowýEarth," "Raise the Red Lantern," and "Blue Kite"ý--- were often banned at home but found audiencesýabroad through international film festivals, andýthe directors were lauded as auteurs. Today, ChenýKaige and Zhang Yimou are internationallyýrecognized, and a younger generation steps in toýtry to capture China in transition. This courseýwill start with examples from the silent eraý(1930s) and Communist propaganda films (earlyý1970s), then quickly move into the films thatýbecame international sensations. Also covered willýbe the art films of Feng Xiaogang and Jia Zhangke.

Course number: HHIS-302
Prerequisite: n/a

One of the most exciting cinema cultures toýemerge in recent decades is that of MainlandýChinese cinema. Mired in propaganda for theýfirst three decades after the Communistýrevolution (1949), Chinese cinema finally foundýits authentic voice with the Fifth Generation,ýwhich emerged in the 1980s. These talented andýambitious filmmakers were graduates of theýBeijing Film Academy, which had been shut downýduring the disastrous Cultural Revolutioný(1966-1976), and they were eager to tell storiesýtruthful to the modern Chinese experience ---ýwhile eloquently using cinema language. Theýfilms they made --- such as "Yellow Earth,"ý"Raise the Red Lantern," and "Blue Kite" --- wereýoften banned at home but found audiences abroadýthrough international film festivals, and theýdirectors were lauded as auteurs. Today, ChenýKaige and Zhang Yimou are internationallyýrecognized, and a younger generation steps in toýtry to capture China in transition.ýýThis course will start with examples from theýsilent era (1930s) and Communist propaganda filmsý(early 1970s), then quickly move into the filmsýthat became international sensations. Alsoýcovered will be the art films of Feng Xiaogangýand Jia Zhangke.

Course number: HCRT-302
Prerequisite: n/a

This course surveys the remarkable development ofýcontemporary art in two powerhouse Asianýcountries, China and Japan. Japanese artistsýemerged into contemporary modes shortly afterýWorld War II, partly as protest against the war,ýwhile it took the death of Mao Zedong in 1976 toýfree Chinese artists to do so. While tracingýhistorical and cultural roots, we will study theýwork and careers of individual artists who haveýmade an international impact -- artists such asýAi Weiwei and Cai Guoqiang for China, and YayoiýKusama, Takashi Murakami, Yoshitomo Nara, andýMariko Mori for Japan.

Course number: HCRT-305
Prerequisite: n/a

What defines a place, and how have our notions ofýplace changed and evolved during the modern andýpostmodern eras? In this course, we'll examineýthe cultural, social, political, and economicýforces at play in the design of spatialýexperiences. Beginning with industrialism and theýstart of the modern age, we'll explore how ideasýabout the nature of everyday life begin to changeýparadigms of thought in art, politics, andýphilosophy; eventually altering both the practiceýand products of design. Following this threadýthrough to postmodernism, we will examine theýways these shifting ideas continue to develop,ýand manifest in contemporary design work, payingýparticular attention to the design elements ofýplace; including: commercial, domestic, civic andýrecreational spaces. Design as a culturalýproduct, will serve as a framework to investigateýand discuss the evolution of place in multipleýcontexts as experienced by many users. Inýaddition to design examples, we will look atýprecedents in art, architecture, film andýliterature. Readings will consist of keyýtheoretical texts of the period. As weýunpack the meanings of place, we will develop aýcritical lens through which we can better analyzeýand apply to our own work.

Course number: HHIS-393
Prerequisite: n/a

This course will focus on the indelibleýsignificance of politics in art. One of theýregions where the interrelationship of art andýpolitics has been clear throughout history isýEastern Europe, known for its historical andýcultural complexities.ýýFor students who are interested in aýmulti-layered cultural landscape, which, althoughýit appears to be far away, is in many ways closeýto home, this course will offer rich informationýand insight into the political and culturalýcontexts that inform and shape art, design,ýarchitecture, and the art discourse. The postwarýand contemporary arts of Central and EasternýEurope will be examined as a case study thatýleads to the understanding of the institutionalýstructure of the art scene in our world.

Course number: HHIS-225
Prerequisite: n/a

This is an introductory conversational Japaneseýcourse designed to help students prepare forýtheir study abroad experience in Japan.ýýIn this course you'll learn useful conversationalýphrases and vocabulary words for everyday lifeýsituations such as introducing yourself,ýtraveling, shopping, and eating out. An overviewýof the Japanese writing systems will also prepareýyou to read basic signs and menus. You'll alsoýgain a cultural understanding and acquire basicýconversational skills through interactiveýexercises, dialogues and field trips.ýýThis course is restricted to students selectedýfor the TAMA Study Abroad Program in Japan.

Course number: HHUM-101
Prerequisite: n/a

Where exactly should a story begin? Does the lastýand final scene seem inevitable? What belongs inýthe middle? Every fiction writer has questionsýlike these at one time or another. In thisýcreative writing workshop you'll look for answersýby exploring short stories by contemporary writersýand by workshopping your own pieces. We'll look atývarious avenues, including some nonfiction, forýwhat's needed to establish a solid foundation forýa story. By the end of the course you should haveýa much better understanding of how basic points ofýstructure in a story change how we receive a pieceýof writing. Students should have experienceýwriting short stories.

Course number: HNAR-306
Prerequisite: n/a

In this course, students will learn how to writeýscripts for animated television series and toýprepare an original "pitch bible." The class willýdiscuss building compelling families ofýcharacters, stages of crafting a script, narrativeýarcs, the collaborative job of a TV writer,ýwriting effective dialogue, and the distinct jobýof "showrunning" a TV series. Eric Lewald hasýwritten for television, primarily in animation,ýfor over thirty years, working for all of theýmajor studios and television networks. He hasý"showrun" 14 series, including the 1990s X-Men,ýand is the author of two books on that hit show. ýWhether students hope to become professionalýwriters for television, movies, commercials, orýgames, the narrative skills needed to createýcompelling script-based intellectual property areýsimilar. Those are the skills we will focus on inýthis class.

Course number: HNAR-315A
Prerequisite: n/a

This course is designed to provide students withýboth the historical context and foundationalýresearch skills they need to create art, design,ýand media for both local and global socialýinnovation. During the first half of the term weýwill analyze social documentary photography,ýhuman-centered design, museum exhibitions, films,ýurban planning, and architecture to help studentsýestablish a framework for understanding creativeýinterventions into international development andýsocial advocacy. Building on this context, eachýstudent will conduct an independent researchýproject that investigates a topic or opportunityýwithin the field of social impact. Students willýcreate images, objects, and writing as part of anýintegrated research practice, and revise theseýmaterials in ways appropriate to the practices ofýart and design; they will also practice designýresearch and introductory ethnographic fieldýmethods in order to gain fresh insight on theirýchosen topics. Students will be challenged toýthink critically about the cultural, political,ýand economic effects of art and designýinterventions. Final projects will consist of aýpresentation and a short paper detailing eachýstudent's research experiences and reflections.

Course number: HSOC-206
Prerequisite: n/a

This course is designed to focus on collaboratingýin teams. Stimulating and facilitating creativeýthinking enables diverse groups to generateýinnovative ideas that impact business. Creativeýcollaboration is about being able to direct,ýinfluence and persuade people of all kinds. Theýfundamental skills and best practices ofýsuccessful group dynamics in situationalýleadership, effective communication, flexibleýdelegation, negotiation, planning and addressingýmeaningful problems will be explored. Throughýexperiential exercises within ever evolving groupýscenarios, you will increase your capacity andýbecome confident in your ability to thrive in aývariety of collaborative environments. Theýexperimental structure of the course creates anýopportunity for you to exercise your imaginationýand take ownership of the collective learningýprocess. In addition, several team projects and aýrange of theoretical readings will demonstrate aývariety of interesting approaches to creativeýcollaboration.

Course number: HPRO-332
Prerequisite: n/a

The goal of the course is to provide anýunderstanding of the structure, relevance,ýdelivery and preparation needed for persuasiveýand compelling presentations and critiques. Thisýcourse can raise awareness of what professionalsýdo to develop and sell their ideas. Presentingýwell is a requirement for the development of theýdesigner's voice and the work itself. This courseýgives a designer, solo or in a team, what theyýneed to be able to craft effective presentationsýto large and small audiences, in virtual orýphysical spaces. Critiquing methods will beýreviewed and practiced to enable students toýeffectively give and receive input on their ideasýand the ideas from theirýteams.

Course number: HPRO-201
Prerequisite: n/a

This course, is an exploration of the use of newýand emergent technologies in the generationýand execution of a creative design process.ýStudents will be introduced to a range of digitalýtools with both physical and virtual implications,ýand use these tools to innovate, iterate andýdevelop solutions to discrete problems. Studentsýwill explore of a wide range of currentýtechnologies and media, as well as the value andýnature of human interaction with technologyýas part of the design process. Subjects willýinclude: prototyping, code as Medium, emergingýtech, and interaction. The course will beýstructured by a series of one-to-two-week longýassignments culminating in a longer final project.ýCourse Learning Outcomes:ý1. Prototyping: Students will be able to constructýworking prototypes of experiences acrossýa continuum of technologies and media.ý2. Code as Medium: Students will learn how the useýof code can be an integral part of theýcreative process - that code can generate design,ýnot just execute it.ý3. Emerging tech: Students will learn about aýrange of emerging design and productionýtechnologies and explore how to apply these toýcreative project work.ý4. Interaction: Students will be able to identifyýand communicate how, where, when, andýwhy people connect to interactive experiences.ý5. Interaction: Students will be able to designýwith intent: prototype, test and refine anýinteraction incorporating feedback from users.

Course number: HSCI-102
Prerequisite: n/a

The capstone project is a manuscript that eachýCreative Writing Minor candidate builds andýrefines during a semester: A collection of poems,ýa short story or several, image/text hybrid work,ýa screenplay, stage play, or any combination ofýgenres the candidate wishes to work on. CapstoneýSeminar offers the time, structure, support, andýrigor it takes to complete such a project, plusýthe opportunity to engage in this process inýcommunity. Along with refining their ownýmanuscript to its most successful iteration, eachýparticipant will be responsible for contributingýto their classmates' progress through thoughtfulýreading and discussion. At the end of CapstoneýSeminar, each candidate submits a manuscript thatýrepresents the work of which they are most proud,ýor that they feel to be most representative ofýtheir arc of improvement from the previous otherýfour courses of the Creative Writing Minor.

Course number: HCRW-350
Prerequisite: n/a

Psuedo course block

Course number: HHUM-CW.PC
Prerequisite: n/a

No need to enroll/no credit. Open to all ArtýCenter students (undergraduate and graduate),ýthis workshop consists of one-on-one meetingsýwith the creativity coach at times to beýarranged. The focus is on releasing your untappedýcreative energies to make your work more alive,ýdynamic, original, and truly fulfilling.ýCreativity-enhancing processes are easilyýcustomized for your specific needs and goals.ýIt's simple, fun, and free, and producesýdramatic, immediate results forýprojects/assignments in all design disciplines.

Course number: HHUM-001
Prerequisite: n/a

Artist and critical studies professor PaulineýSanchez will meet with students to discuss andýcritique ongoing student production, includingýwriting, fine art, and/or design projects, toýdeepen their understanding of history, culture,ýtheory, and how their work functions in theýcontemporary art and design world. Furtherýreading and/or research may be assigned. Studentsýwill sign up for one-hour meetings.

Course number: HHUM-002
Prerequisite: n/a

Professor will meet with students to discuss andýcritique ongoing student production, includingýwriting, fine art, and/or design projects, toýdeepen their understanding of history, culture,ýtheory, and how their work functions in theýcontemporary art and design world. Further readingýand/or research may be assigned. Students mayýengage via established studio visits or crits in aýdepartment or via independent meeting arrangedýthrough the Department of H&S or directly with theýprofessor.

Course number: HHUM-006
Prerequisite: n/a

This class is a study of films and videos made byýartists who have a unique approach to process andýto relationships between form and content. Weýwill look at works by women from around the worldýin the fields of Experimental Film, Video Art,ýIndependent film and internet based projects,ýamong other practices. Some examples include theýfilms of Akosua Adoma Owusu, Cheryl Dunye, PeggyýAhwesh, Ana Mendieta, Shambhavi Kaul, YvonneýRainer and Sophie Calle. Rather than looking atýthe films through established theoreticalýframeworks of film or women's studies, we will beýengaging a more open approach by which we allowýthe frameworks to emerge from the worksýthemselves. Our involvement with thisýexperimental pedagogy includes reading andýdiscussing primary source materials (artistýwritings) and other theoretical texts and keepingýwritten entries for every artist and every film.ýWe will ask ourselves questions such as ..what isýthe role of influence and lineage in these works?ýHow are notions of collaboration conceived andýenacted? How does the presence of personalýmaterial interact with other types of subjectýmatter? Part of the objective of this class is toýexpose you to a greater number of works by womenýthan you would otherwise see. There'll beývisiting artists and field trips around town.ýThis class is open to everyone.

Course number: HNAR-352
Prerequisite: n/a

This course is a weekly 3-hour seminar in whichýstudents build a strong foundation in the theoriesýand discourses surrounding visual culture, massýmedia, and design. Rather than proceedingýchronologically, students investigate ideasýthrough a series of overlapping and interrelatedýthematics with the goal of developing frameworksýthat enable a robust and critically engaged mediaýdesign practice. The course materials will addressýa variety of media and design practices as theyýintersect with key theoretical discourses. Most ofýthe texts will focus on topics related to Americanýand European visual culture, but not to theýexclusion of other cultural and geographicýcontexts. Course materials will be examined from aývariety of perspectives, and will exploreýquestions of modernity, textuality, visuality,ýtechnology, gender, race, and globalization.

Course number: HHIS-401
Prerequisite: n/a

What role might artists and designers play inýscripting possible futures, at a moment when itýhas become difficult to sustain imaginaries of anyýfuture whatever? Amid conditions of ecologicalýcrisis and systemic injustice, who inscribes theýfuture, and for whom is the future structurallyýforeclosed? In this scenario, artists haveýincreasingly turned to future-oriented practicesýas a tactic of refusal and survival. Attending toýtheir work, this course will examine a range ofýglobal practices spanning Afrofuturisms, ArabýFuturisms, Indigenous Futurisms, Latinx Futurisms,ýSinofuturisms, and SWANA Futurisms, among others.ýArtists' projects will be paired with criticalýtexts by Black Quantum Futurism, Grace Dillon, T.ýJ. Demos, Kodwo Eshun, Yuk Hui, Kara Keeling,ýJussi Parikka, Sofia Samatar, and others. Studentsýwill coproduce the course's assessment rubrics,ýand will participate in the design of the class asýactive co-creators of curriculum throughýstudent-generated modules.

Course number: HSOC-520
Prerequisite: n/a

What role might artists and designers play inýscripting possible futures, at a moment when itýhas become difficult to sustain imaginaries of anyýfuture whatever? Amid conditions of ecologicalýcrisis and systemic injustice, who inscribes theýfuture, and for whom is the future structurallyýforeclosed? In this scenario, artists haveýincreasingly turned to future-oriented practicesýas a tactic of refusal and survival. Attending toýtheir work, this course will examine a range ofýglobal practices spanning Afrofuturisms, ArabýFuturisms, Indigenous Futurisms, Latinx Futurisms,ýSinofuturisms, and SWANA Futurisms, among others.ýArtists' projects will be paired with criticalýtexts by Black Quantum Futurism, Grace Dillon, T.ýJ. Demos, Kodwo Eshun, Yuk Hui, Kara Keeling,ýJussi Parikka, Sofia Samatar, and others. Studentsýwill coproduce the course's assessment rubrics,ýand will participate in the design of the class asýactive co-creators of curriculum throughýstudent-generated modules.

Course number: HSOC-420
Prerequisite: n/a

This course will provide a basic visualývocabulary or rhetoric. The primary learningýobjective is to understand how imagesýwork--successfully or not--to convey the intendedýmeaning of the artist/designer to a desiredýaudience. Rather than ask what images mean, theýemphasis is on how they work in a variety ofýcontexts. In other words, students will learn theýrhetoric of visual communication, with "rhetoric"ýunderstood here as a form of persuasion thatýproduces an intellectual and physicalýtransformation in the viewer.

Course number: HCRT-100
Prerequisite: n/a

Course number: HCRT-TRNSFR
Prerequisite: n/a

This course critically examines design's normativeýworldview via theory, case study, research andýwriting. Challenging the adequacy of modernist,ýEuropean value sets for contemporary design,ýstudents will explore their own worldviews, and beýconfronted by those of others. How can aýcritically engaged understanding of culture andýcontext equip designers for productivelyýaddressing contemporary issues? In what ways doesýa serious consideration of context shape ourýunderstanding of materials, aesthetics, or evenýdesign itself?

Course number: HHIS-417
Prerequisite: n/a

This course critically examines design's normativeýworldview via theory, case study, research andýwriting. Challenging the adequacy of modernist,ýEuropean value sets for contemporary design,ýstudents will explore their own worldviews, and beýconfronted by those of others. How can aýcritically engaged understanding of culture andýcontext equip designers for productivelyýaddressing contemporary issues? In what ways doesýa serious consideration of context shape ourýunderstanding of materials, aesthetics, or evenýdesign itself?

Course number: HSOC-417
Prerequisite: n/a

This course continues to critically examineýdesign's normative worldview via theory, caseýstudy, research and writing. Students will exploreýtheir own worldviews, and be confronted by thoseýof others. Students will begin to develop theirýown position to productively address contemporaryýissues through writing and reflection on theirýburgeoning design practice in preparation for theýindependent research of the thesis year.

Course number: HSOC-467
Prerequisite: n/a

Crowds are typical of modern urban experience:ýaudiences and spectators, commuters and shoppers,ýprotesters and believers all participate in theýlogic of the crowd. But what does it mean to joinýthe masses, to be counted amongst the population,ýor to disappear into the multitude? At the turn ofýthe twentieth century we understood the crowd as aýdangerous figure to be feared and suppressed, butýnow we seem to have new categories of both 'crowdýintelligence' and 'smart cities'. How should weýunderstand the aesthetics and politics of theýcrowd today? This seminar course will look at theýhistory and theory of crowds, cross-examining theýgroup psychology of the modern masses with theýurban biopolitics of population, circulation, andýcomplexity. Through a range of historical andýtheoretical readings, the course will provide anýinterdisciplinary introduction to the crowd andýits impact on our understanding of mass media,ýmass culture, and modern life.

Course number: HHIS-223
Prerequisite: n/a

Crowds are typical of modern urban experience:ýaudiences and spectators, commuters and shoppers,ýprotesters and believers all participate in theýlogic of the crowd. But what does it mean to joinýthe masses, to be counted amongst the population,ýor to disappear into the multitude? At the turn ofýthe twentieth century we understood the crowd as aýdangerous figure to be feared and suppressed, butýnow we seem to have new categories of both 'crowdýintelligence' and 'smart cities'. How should weýunderstand the aesthetics and politics of theýcrowd today? This seminar course will look at theýhistory and theory of crowds, cross-examining theýgroup psychology of the modern masses with theýurban biopolitics of population, circulation, andýcomplexity. Through a range of historical andýtheoretical readings, the course will provide anýinterdisciplinary introduction to the crowd andýits impact on our understanding of mass media,ýmass culture, and modern life.

Course number: HSOC-223
Prerequisite: n/a

Cultural anthropology shows the organic design ofýculture in general, emphasizing the similaritiesýand differences between cultures in the world. Byýthe end of the course the student shouldýunderstand the basic institutions of all culturesýas well as be able to discuss the traits,ýrituals, and lifeways of several specificýcultures. We will answer the following questions:ýWhy do people in different parts of the world actýso strangely and why should design and artýstudents care? How do anthropologists discoverýthe design of culture? Why do mothers in the Bengýculture give their babies chili pepper enemas?ýWhy do you speak with an accent when you learn aýsecond language? When is your wife's mother alsoýyour father's sister? Why is Indian food servedýon metal trays? and many others.

Course number: HSOC-112
Prerequisite: n/a

Digital devices and infrastructures have outsizedýimplications for collective life today. Like allýtechnologies, they are the result of coordinatedýhuman activity that produces innovation throughýresearch, business, design, and daily life. Thisýclass introduces students to the anthropologicalýanalysis of these practices, offering tools forýthinking critically about the cultural contextsýand impacts of emerging technology. What makesýparticular corners of the world famous as hotbedsýof "disruptive" thinking? How do online platformsýshape their users and how do users transform theseýplatforms in turn? How does technology reflect andýinform contemporary struggles over race, gender,ýclass, colonialism, and governance? By askingýquestions like these, we will develop tools forýunderstanding technology as a product of culturalýpractice; an agent of social change; and an objectýof collective deliberation. Constructed as aýseminar, this course will include readings fromýanthropology, science and technology studies,ýfiction, and other fields, alongside weeklyýwriting responses and a final design proposal.

Course number: HSOC-381
Prerequisite: n/a

Digital devices and infrastructures have outsizedýimplications for collective life today. Like allýtechnologies, they are the result of coordinatedýhuman activity that produces innovation throughýresearch, business, design, and daily life. Thisýclass introduces students to the anthropologicalýanalysis of these practices, offering tools forýthinking critically about the cultural contextsýand impacts of emerging technology. What makesýparticular corners of the world famous as hotbedsýof "disruptive" thinking? How do online platformsýshape their users and how do users transform theseýplatforms in turn? How does technology reflect andýinform contemporary struggles over race, gender,ýclass, colonialism, and governance? By askingýquestions like these, we will develop tools forýunderstanding technology as a product of culturalýpractice; an agent of social change; and an objectýof collective deliberation. Constructed as aýseminar, this course will include readings fromýanthropology, science and technology studies,ýfiction, and other fields, alongside weeklyýwriting responses and a final design proposal.

Course number: HHIS-381
Prerequisite: n/a

Digital devices and infrastructures have outsizedýimplications for collective life today. Like allýtechnologies, they are the result of coordinatedýhuman activity that produces innovation throughýresearch, business, design, and daily life. Thisýclass introduces students to the anthropologicalýanalysis of these practices, offering tools forýthinking critically about the cultural contextsýand impacts of emerging technology. What makesýparticular corners of the world famous as hotbedsýof "disruptive" thinking? How do online platformsýshape their users and how do users transform theseýplatforms in turn? How does technology reflect andýinform contemporary struggles over race, gender,ýclass, colonialism, and governance? By askingýquestions like these, we will develop tools forýunderstanding technology as a product of culturalýpractice; an agent of social change; and an objectýof collective deliberation. Constructed as aýseminar, this course will include readings fromýanthropology, science and technology studies,ýfiction, and other fields, alongside weeklyýwriting responses and a final design proposal.

Course number: HCRT-381
Prerequisite: n/a

Pseudo course block

Course number: HHUM-002.PC3
Prerequisite: n/a

More than 700 years ago, a man from the Italianýcity of Florence, pretty much on his own, inventedýthe idea of creating characters based (somewhat)ýon his own life experiences. His name was DanteýAlighieri, and he became so important to theýdevelopment of European literature that we haveýcome to know him simply by his first name, Dante.ýThe story he told was of a single person's journeyýthrough the Medieval Catholic Otherworld, that is,ýa journey through Hell, Purgatory and Heaven. Heýcalled his work a comedy (Commedia in Italian) andýhis first biographer, Giovanni Boccaccio (arguablyýthe inventor of the novel as a literary form),ýpronounced the work "Divine." Since then, theýwhole trilogy has been know as the Divine Comedyý(Divina Commedia, in Italian.)ýýIn this course we will closely read the first bookýof the Commedia, Hell (L'Inferno) in which theýmain character, also called Dante, is guidedýthrough the horrors of Hell by the Roman poetýVirgil. The journey is surreal, horrifying,ýsometimes funny, often touching. It is also, inýaddition to being one of the great stories, anýencyclopedia, into which the author Dante pouredýall his knowledge of the 14th century world:ýspiritual, psychological, philosophical,ýpolitical, astrological and scientific. ýýThe Inferno has been an inspiration for artists,ýwriters, musicians, theologians and scholars forýalmost as long as it's existed. Together we'llýdelve into the strange, dreamlike, always excitingýworld that Dante created. The gates of Hell,ýaccording to Dante, have an inscription that endsýwith the famous sentence, "Abandon all hope youýwho enter." In this course we'll keep hope aliveýas we lower ourselves into the inferno with oneýof humanity's great and compelling poets.

Course number: HNAR-319
Prerequisite: n/a

Data are a tool of worldmaking, reflecting andýreinforcing past and present structures of power.ýData also script the future. Building from thatýpremise, this class will explore how criticalýapproaches to data can encode alternate collectiveýfutures. With a particular focus on the role ofýdata in art and design, we will look pair keyýtexts on data feminism and critical data studiesýwith works by Algorithmic Justice League,ýMorehshin Allahyari, Stephanie Dinkins, LynnýHershman Leeson, Los Angeles Artist Census, LaurenýLee McCarthy, Mimi ?n??ha, Caroline Sinders,ýAmelia Winger-Bearskin, and others. Students willýcodetermine the course's assessment rubrics, andýwill participate in the design of the class asýco-creators of curriculum throughýstudent-generated modules.

Course number: HHIS-364
Prerequisite: n/a

Data are a tool of worldmaking, reflecting andýreinforcing past and present structures of power.ýData also script the future. Building from thatýpremise, this class will explore how criticalýapproaches to data can encode alternate collectiveýfutures. With a particular focus on the role ofýdata in art and design, we will look pair keyýtexts on data feminism and critical data studiesýwith works by Algorithmic Justice League,ýMorehshin Allahyari, Stephanie Dinkins, LynnýHershman Leeson, Los Angeles Artist Census, LaurenýLee McCarthy, Mimi ?n??ha, Caroline Sinders,ýAmelia Winger-Bearskin, and others. Students willýcodetermine the course's assessment rubrics, andýwill participate in the design of the class asýco-creators of curriculum throughýstudent-generated modules.

Course number: HSOC-364
Prerequisite: n/a

In this Design Matters TDS, students will zero inýon possible futures of DEAD MALLS. We start byýasking two key questions. First: Should dead,ýunused suburban malls be resurrected or remainýancient commercial ruins of twentieth centuryýspatial planning? Second: If they are to beýresurrected, what if Dead Malls could be turnedýinto Healthy Space - healthy for living, learning,ýworking, healing and play? ýýGiven the urban and suburban complexity the topic,ýwe will learn from guest speakers, panelýdiscussions, field trips and workshops regardingýhow to transforming large scale "dead" and unusedýarchitecture into viable community-centers, suchýas, Equity housing, Community health centers,ýeducational centers for Green Living orýEntertainment Centers. Our focus will be onýhealthy options - healthy for people, planet andýprofit.ýýThis course is eligible for the DesignmattersýMinor in Social Innovation

Course number: TDS-439
Prerequisite: n/a

Death lurks behind everything we do. It generatesýfear, grief, and shame, but also ambition, hope,ýand curiosity. To confront it, we'll conduct classýmore as a philosophical experiment than aýtraditional academic exercise. You'll be asked toýread about death and dying every week, produce newýdesigns and artworks, and participate fully inýclass discussions. In the process, we'll focus onýsome traditional philosophical questions: Is deathýan evil? Is survival after death likely (or evenýdesirable)? How is death related to creativity? toýpersonhood? to eroticism? We'll address difficultýethical issues like suicide, euthanasia, abortion,ýcapital punishment, war, martyrdom, genocide, theýexploitation of death, and the eating of animals.ýWe won't conclude much of anything, but ideallyýwe'll each gain a deeper understanding ofýourselves and the world.

Course number: HCRT-306
Prerequisite: n/a

Design does not unfold in a vacuum. Increasingly,ýthe discipline is called to examine itsýconnections to larger material, economic, andýcultural networks. This class offers a window ontoýcrucial domains hidden from the usual view fromýthe studio to see how this broader world livesýwithin the work of design. In dialogue with ideasýfrom anthropology, history, economics andýelsewhere and engaging in a series ofýcollaborative projects surrounding the Los Angelesýdesign ecology, the class will examine whereýdesign's materials come from; how these resourcesýare transformed through varied forms of skill; andýthe diverse economies in which design circulatesýand is made meaningful. Throughout the course,ýstudents will work in close collaboration with theýinstructor and selected designers in the creationýof original research and projects.

Course number: HSOC-326
Prerequisite: n/a

"Just squat down awhile and after that thingsýbegin to happen."ý- Zora Neale Hurston ýýEthnographic methods are central to the work ofýanthropology, and this qualitative approach hasýbeen increasingly adopted by designers seeking toýunderstand their users and the cultural contextsýin which they intervene. This course offers anýintroduction to ethnography as it has beenýpracticed and transformed in anthropology andýbeyond, along with practical tools for generatingýethnographic insights for use in the designýprocess. Premised on hands-on engagement acrossýcultural contexts, ethnography traces the variedýshape of cultural life, aspiring to grounded,ýrespectful, and dialogic accounts of the everyday.ýSuch insights offer a vital resource for designersýinterested in developing innovative and ethicalýsolutions to collective challenges. During thisýcourse, students will learn a variety ofýethnographic methods while employing them at aýchosen fieldsite. The resulting data will informýthe development of a final project. Courseýreadings and discussions will offer anýintroduction to debates in ethnographic theory;ýthe application of qualitative methods in designýresearch; techniques for data coding and analysis;ýas well as the politics and ethics of research.

Course number: HSOC-230
Prerequisite: n/a

History of Comics & Animation provides in-depthýcritical studies of illustrated sequentialýnarrative, both print and motion, with emphasisýon creative visualization. Its goal is to expand,ýenhance, and enrich graphic communication skills.ýTo that end, it encompasses pictorial media fromýsingle image to multi-panel cartoons, comicýstrips to comic books and graphic novels, andýflip-books to animated film and video. Itýexplores landmark theories, moments, andýmovements of significant innovation andýtransformation from a diversity of perspectives.ýIt investigates the form and content of comicsýand animation within broader artistic, social,ýpolitical, economic, and technological contexts,ýand covers a variety of eras, cultures, andýissues. Learning methods: audio-visualýpresentations, opinionated classroom discussions,ýtake-home exams, guest speakers, and otherýstrategies.

Course number: HHIS-256
Prerequisite: n/a

Design Theory provides a critical examination ofýissues, theories, movements and practices that areýrelevant to the contemporary design. The courseýcovers the history of design, including graphicýdesign, fashion, and architecture with a focus oný1900 to present. Through lectures, readings,ýdiscussions and writing, students will exploreýthese themes; engage in critical analysis ofýselected historical and contemporary works; andýuse case studies to further understand theýcultural, social and political implications ofýdesign as a visual and culture language.

Course number: HHIS-391
Prerequisite: n/a

Often, the design process begins from a desire toýradically transform the daily lives of its users.ýWhat would it look like if instead we prioritizedýunderstanding and supporting the everyday as itýalready exists? This course offers an introductionýto anthropologies of everyday life; the study ofýmaterial culture; and research based creativeýpractices. In addition to engaging relevant textsýand projects in a seminar format, students willýwork on a series of research and creative briefsýaround these themes in dialogue with their ownýinterests. The course will work in active dialogueýwith designers, object collections, and the urbanýlife of Los Angeles.

Course number: HSOC-355
Prerequisite: n/a

Design for Social Innovation. Design for SocialýImpact. Public Interest Design. Social Design.ýDesign for Good. Design for Social Good. All ofýthese terms have been used (sometimesýinterchangeably) to refer to design that makesýsociety better. But how does Design for SocialýInnovation (or whatever we call it!) actuallyýhappen? What are some roles designers mightýinhabit when enacting social change? Who mightýdesigners need to work with, and how might theyýwork differently when designing with aýsocially-conscious intent? In Design for SocialýInnovation, we will trace the histories, theories,ýand practices necessary for a foundationalýknowledge of the space. Resources will be drawnýfrom historians, cultural theorists, publicýfigures, and, of course, designers themselves.ýReal-world case studies of social innovationýdesign projects from around the globe and rightýhere at ArtCenter will be centered in our weeklyýanalysis, yielding important insights regardingýsuccesses and failures. Students will leave thisýclass with an understanding of what questions toýask, what methods to pull from, and who to seekýout when working on projects intended to lead usýto a sustainable, equitable and ethical future.

Course number: HSOC-206A
Prerequisite: n/a

"Design" is being redefined, and designers mustýnow use their unlimited ingenuity to consider theýenvironmental consequences of materials,ýproduction methods, performance, and lifeýcycling. Students learn the fundamentalýprinciples of the science of ecology, studyýmethods for evaluating environmental performanceýof design/product concepts, and learn currentýstrategies for creating a sustainable interfaceýbetween design and the environment.

Course number: HSCI-251
Prerequisite: n/a

Design is usually distinguished from art for itsýutility and the role it plays in people's dailyýlives. What happens when these works enterýcontexts of collecting and display like theýmuseum? This course examines the past and futureýof the collection, curation, and display of worksýof design and material culture. Our work willýinvolve visits to relevant collections andýexhibitions as well as dialogue with curators andýdesigners. Through assignments, students willýcritically reflect on current and historicalýexhibitions, explore collections objectsýcollections, and develop their own visions forýdesign exhibitions of the future.

Course number: HSOC-231
Prerequisite: n/a

Design is usually distinguished from art for itsýutility and the role it plays in people's dailyýlives. What happens when these works enterýcontexts of collecting and display like theýmuseum? This course examines the past and futureýof the collection, curation, and display of worksýof design and material culture. Our work willýinvolve visits to relevant collections andýexhibitions as well as dialogue with curators andýdesigners. Through assignments, students willýcritically reflect on current and historicalýexhibitions, explore collections objectsýcollections, and develop their own visions forýdesign exhibitions of the future.

Course number: HHIS-246
Prerequisite: n/a

This course will challenge students to explore theýpast, present, and future of democraticýparticipation and civic engagement. Students willýlearn about how US elections have changed overýtime through analyzing the history of votingýrights, civil rights, ballot technologies, mediaýrepresentation, and power. With knowledge partnersýfrom across the political spectrum, students willýconduct primary research to learn about theýcontemporary landscape of civic participation inýthe LA metro area, envision the role design canýplay in the election process, and build frameworksýand strategies for the future. Creative projectsýwill invite public engagement in the politicalýprocess through the creation of campaigns,ýcollateral, systems, experiences, spaces (andýmore!) aimed at increasing voter participation inýand beyond California.

Course number: HSOC-301B
Prerequisite: n/a

This is a team taught class exploring the natureýand experience of time. The science fiction ofýtime travel has greatly enhanced the thinkingýabout the nature of time and the role of time inýthe sciences and in art. Broken into three topicalýmodules, we wondrously explore the conceptualýintersections of the neurology, the psychology,ýand the physics/mathematics around the thread ofýfictional time travel. ýýIn the first and second modules, we study theýbrain as a time traveling machine, analyzingýbiochemical arguments ranging from short termýsynaptic plasticity and dependent networks, to theýway the brain creates the experience of past,ýpresent and future. In the third module we willýexplore special relativity arguments regardingýtime dilation and length contraction, and discussýnew research on the role of computational fitnessýdriving the flow of time. We will analyze timeýtravel using novel ideas regarding the black andýwhite holes of general relativity, and multipleýtime dimensions. Throughout the class we willýreflect on how artists have explored theýcomplexities and paradoxes of time travel, and inýthe final project of the class we will encourageýstudents to find creative applications for theýtheoretical content of the class.

Course number: HSCI-272
Prerequisite: n/a

Design is following the pathway of anyýprofessional practice, moving towards takingýresponsibility for the function at the enterpriseýlevel. Design started out making artifacts, thenýmoved into design thinking, and now is at theýjuncture of getting a seat at the table in the Cýsuite. This course offers students the opportunityýto bring a variety of learning acquired from theirýbusiness minor and design major and apply them toýan all-encompassing portfolio piece that canýdemonstrate their potential for design leadership.ýDuring the course they learn from professionalsýthat practice in the industry of their choice,ýconsider trends that are impacting theirýdiscipline, and how they can differentiate in faceýof competition to create an ownable proposition. ýýAs basic competencies in design become standardýfor employees without formal design education,ýthis business minor capstone places the skills ofýdesigners and artists beyond the context ofýartifact making and into that of creating valueýand impacting change across organizations, andýthus across society. The course enables theýdesigner to create a holistic business systemýaround a design solution to further the intent ofýthe artist or designer while harnessing culturalýmovement and sustainability goals.

Course number: HBUS-303
Prerequisite: n/a

You've got detention! This unique philosophy lab,ýoffered only in the summer term, is a livelyýexperiment in art and education. It will beýanti-authoritarian and somewhat chaotic byýdesign, so you'll need to be open toýunconventional assignments. In fact, the only wayýto pass the course is to risk complete failure.ýEach week, we'll combine studio practice withýphilosophy to explore the vagaries of senseýperception, communication, beauty, desire-evenýdeath. We might squeeze in a field trip. Noýphilosophical background is required or expected:ýjust an eagerness to understand yourself and theýworld.

Course number: HCRT-303
Prerequisite: n/a

Offers a design history ?that repositions designýdiscourse beyond the default Eurocentric,ýtechno-deterministic normalities in order toýreimagine? design trajectories that privilegeýcritical engagement with questions of race,ýgender, access and worldview.??

Course number: HHIS-266
Prerequisite: n/a

Different TomorrowsýýAssembles a counter-history of design thatýrepositions design discourse beyond theýEurocentric, techno-deterministic normalities toýreimagine future design trajectories thatýprivilege critical engagement with questions ofýrace, gender and inequality.

Course number: HSOC-313
Prerequisite: n/a

Distinctions between "real" life and the culturalýexperiences facilitated by digital platforms areýincreasingly difficult to maintain. No longerýspaces that merely supplement or distract from ourýordinary lives, online worlds are integral to theýcreation and maintenance of contemporaryýidentities, work flows, communities, and more.ýThis class takes an ethnographic approach toýunderstanding the variety and significance of lifeýonline. Premised on deep engagement acrossýcultural contexts, ethnography aspires toýgrounded, respectful, and dialogic accounts of theýeveryday. Over the course of the term, studentsýwill be introduced to anthropological precedentsýand hands-on methods for learning about and fromýthe digital. As global crisis forces more and moreýof social life online, the research tools providedýin this class are of growing importance-both toýscholars interested in understandingýtransformations to contemporary life and designersýworking to develop innovative and ethicalýsolutions to collective challenges. ý ýDuring this course, students will learn a varietyýof ethnographic methods while employing them at aýchosen online fieldsite. The resulting data willýinform the development of a final project. Courseýreadings and discussions will offer anýintroduction to debates in ethnographic theory;ýthe application of qualitative methods inýresearch; techniques for data analysis; as well asýthe politics and ethics of research.

Course number: HSOC-315
Prerequisite: n/a

Libraries, archives, museums, the greatýrepositories of the human past, make availableýsources that have enhanced how we learn subjectsýand make things. The vast digital collections onýthe Web have transformed the way we study theýpast achievements of humans, whether history,ýliterature, philosophy, music, or art. This is aýpractice-based humanities course with a researchýand design component. Students work individuallyýor collaboratively on projects such as historyýwebsites, video essays, set designs orýpromotional materials for plays or operas.

Course number: HHIS-296
Prerequisite: n/a

Libraries, archives, museums, the greatýrepositories of the human past, make availableýsources that have enhanced how we learn subjectsýand make things. The vast digital collections onýthe Web have transformed the way we study theýpast achievements of humans, whether history,ýliterature, philosophy, music, or art. In thisýcourse, students will learn the basic skills ofýresearching a digital humanities project. Theseýprojects may include history exhibits;ýdocumentary videos; scenic designs for a play orýopera; maps or models of fictional worlds. ýStudents can choose to work individually, orýcollaboratively on small project teams.

Course number: HSOC-266
Prerequisite: n/a

Libraries, archives, museums, the greatýrepositories of the human past, make availableýsources that have enhanced how we learn subjectsýand make things. The vast digital collections onýthe Web have transformed the way we study theýpast achievements of humans, whether history,ýliterature, philosophy, music, or art. This is aýpractice-based humanities course with a researchýand design component. Students work individuallyýor collaboratively on projects such as historyýwebsites, video essays, set designs orýpromotional materials for plays or operas.

Course number: HSOC-296
Prerequisite: n/a

Libraries, archives, museums, the greatýrepositories of the human past, make availableýsources that have enhanced how we learn subjectsýand make things. The vast digital collections onýthe Web have transformed the way we study theýpast achievements of humans, whether history,ýliterature, philosophy, music, or art. In thisýcourse, students will learn the basic skills ofýresearching a digital humanities project. Theseýprojects may include history exhibits;ýdocumentary videos; scenic designs for a play orýopera; maps or models of fictional worlds. ýStudents can choose to work individually, orýcollaboratively on small project teams.

Course number: HCRT-266
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-CS10A
Prerequisite: n/a

This course will provide students with theýopportunity to collaborate with INSEAD MBAýstudents and be taught by INSEAD faculty andýindustry experts while they work on theýdevelopment, testing and management of a digitalýproduct. This course will give you an overview ofýhow to become an effective product manager ofýdigital products. During the INSEAD portion,ýdesigners with work with 4-5 MBA students,ýdeveloping and testing a digital product concept. ýMBAs are expected to have a hands-on role in allýstages of the project and the designers will beýboth coaches and active participants. ACCDýparticipants be collaborating with INSEAD studentsýin various time zones. ýýIn addition to the synchronous INSEAD component,ýthe course will include an ACCD IxD mini course toýprepare for the INSEAD project. The first halfýof the term will focus on fundamentals ofýInteraction Design with an emphasis on methodsýrelevant to collaborating with Product Managers inýa business context. At the midterm, each projectýteam will present an overview of their MinimumýViable Product (MVP), business strategy, productýfeatures and functionality, and presentýinteractive demos of primary features of the MVPýfor a product redesign project. ýýRegistration by application only. Please contactýStudy Away Department for details.

Course number: HBUS-330
Prerequisite: n/a

About 15% of the world's people are disabled. Thisýstatistic is more complicated than it seems,ýbecause it is determined by various bodily,ýsocietal, and cultural perceptions. What isýdesign's role, then, in defining and responding toýdisability? For decades, disabled people haveýclaimed that the social edifice-from beliefs toýdesign standards-causes disability, not bodies. Anýimportant position for designers to consider, thisýcourse traces the curvature of such discourses andýapplies them to creative practice. Students willýthink, sketch, play, and iterate ways to make theýworlds of architecture, objects, interfaces,ýcommunications, and more, access-centered. A finalýassignment channels course learnings into anýinterdisciplinary design project that extends whatýdisability design means and can do in our currentýmoment.

Course number: HSOC-385
Prerequisite: n/a

Documentary Film is a survey of non-fictionýfilms, most from this century, but all reflectingýon concerns left over from the previous one. Theýtopics addressed include the way people work,ýresist oppression, and invent culture; and, mostýimportantly, how they have persistentlyýenvisioned utopia, often with results at varianceýwith their intentions.ý ýSpectators and critics have at times declared theýpractice of making documentaries perverse orýmeaningless, yet these films continue to haveýpopular appeal; indeed, the public's appetite forýthem only seems to grow as the notion ofýnon-fiction itself threatens to be evacuated byýadvances in computer graphics, public relations,ýand cosmetic surgery. The genre has attractedýfilmmakers interested in everything fromýexploitation to edification; what their worksýhave in common is a relationship to life as it isýlived. Students curious about how our societyýcame to be how it is today will find some answersýin recent documentary films.

Course number: HNAR-344
Prerequisite: n/a

Course number: HWRI-ESL
Prerequisite: n/a

This creative writing course is built on theýconception that writing is a form of action. Anýoverview of the environmental movement, itsýphilosophical positions such as Deep Ecology,ýEcofeminism, Social Ecology and Eco-Marxism,ýEnvironmental Apocalypticism, and Gaia, will beýexplored through literature, art, andýcorresponding ecocriticism. We will begin ourýstudy with early twentieth century idealý'pastoral' ecology and old wilderness writing,ýmoving on to the postcolonial spectrum of ecoýliterature as well as contemporary works of ecoýart. ýýSpecial emphasis will be paid to hybridity and theýcross culturation of cyborgs, queer and feralýanimals. Through immersion in these works, we willýbecome more effective advocates in the Americanýnature writing tradition and beyond: the ramble,ýpoetry, manifesto, lyrics, fiction and theýcontemporary "eco art" proposal. Student work willýbe reviewed in peer groups and culminate in finalýshort in-class presentations. Field trips andýguest lectures will include local artists,ýmusicians and writers. In the words of Henry DavidýThoreau, "Let your life be a counter friction toýstop the machine."

Course number: HNAR-381
Prerequisite: n/a

Ecofeminism is a theoretical, academic, andýactivist movement that locates criticalýconnections between gender oppression and theýexploitation of natural resources. It developedýthroughout the early 1980s from the environmental,ýanti-nuclear, and feminist movements; in additionýto its primary concerns around the subordinationýof nature and women, ecofeminism sought to resistýracism, homophobia, and the capitalist patriarchy.ýThrough key texts and art works, this courseýexamines the development of ecofeminism as anýartistic position from the late 1970s to today.ýTopic include intersectional environmentalism,ýfrontier masculinity, witchcraft, Land Art,ýsite-specificity, the Anthropocene, and scienceýfiction, among others.

Course number: HHIS-426A
Prerequisite: n/a

This poetry workshop will undertake the constraintýof EKPHRASIS: the poem of dialogue between visualýart or image and word. We will encounter togetherýcurrent and relevant imagery and also meet at orývisit museums in the area to engage with images.ýWe will workshop them in class and complete aýsmall portfolio of work.ýýThis course is a writing class that will useývarious models of poetry as platforms for possibleýexcursions into written projects. We will exploreýthe possibilities by engaging with images and thenýengaging with the work in a workshop community.ýWith each writing assignment there will be aýreading assignment that either exemplifies theý"problem" or presents some type of conceptualýframework for it.

Course number: HNAR-367
Prerequisite: n/a

This course explores our relationship to water,ýand how access to this vital resource shapes ourýcities, societies, cultures and imaginations. Itýis structured as a collaborative workshopýcombining field work, interdisciplinary researchýand creative speculation. To ground our inquiryýwe will tour several hydro-infrastructure sitesýwhere local sources of water are controlledýand/or where more distant supplies are collected,ýtreated and delivered to our taps. Presentationsýand background readings will unpack these sitesýin relation to counter-models and creativeýexpressions drawn from other times, places andýcultures, all with an eye toward revealing theýembedded assumptions, entrenched interests,ýsocial implications and aesthetic dimensions ofýour current water supply. ýýNo prior experience or background is assumed, andýall majors are welcome in this multi-disciplinaryýspace: we will learn key analytic concepts fromýnatural history, geography and sociology, andýalso use lenses from film, science-fiction andýenvironmental literature to imagine alternateýecologies. Participants with prior water-relatedýresearch interests are invited to use theýworkshop as a forum for adding depth andýcomplexity to their investigations. Cumulativeýprojects will emphasize independent and/orýcollaborative research based in studentýinterests. Conjectural propositions and otherýexperimental means of re-imagining linkagesýbetween natural history, urban development, andýhinterland networks will be encouraged.

Course number: HCRT-272
Prerequisite: n/a

This course explores our relationship to water,ýand how access to this vital resource shapes ourýcities, societies, cultures and imaginations. Itýis structured as a collaborative workshopýcombining field work, interdisciplinary researchýand creative speculation. To ground our inquiryýwe will tour several hydro-infrastructure sitesýwhere local sources of water are controlledýand/or where more distant supplies are collected,ýtreated and delivered to our taps. Presentationsýand background readings will unpack these sitesýin relation to counter-models and creativeýexpressions drawn from other times, places andýcultures, all with an eye toward revealing theýembedded assumptions, entrenched interests,ýsocial implications and aesthetic dimensions ofýour current water supply. ýýNo prior experience or background is assumed, andýall majors are welcome in this multi-disciplinaryýspace: we will learn key analytic concepts fromýnatural history, geography and sociology, andýalso use lenses from film, science-fiction andýenvironmental literature to imagine alternateýecologies. Participants with prior water-relatedýresearch interests are invited to use theýworkshop as a forum for adding depth andýcomplexity to their investigations. Cumulativeýprojects will emphasize independent and/orýcollaborative research based in studentýinterests. Conjectural propositions and otherýexperimental means of re-imagining linkagesýbetween natural history, urban development, andýhinterland networks will be encouraged.

Course number: HSOC-272
Prerequisite: n/a

This is a technology-oriented project workshop,ýspecializing in Arduino electronics andýprogramming. It is open to all students who needýassistance in constructing a functioningýprototype or proof of concept. The main goal isýto enable the student to design and assembleýtheir own prototypes in the future.ýýNo appointments necessary; walk in basis.

Course number: HHUM-004
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-L102
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-130A
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-L106A
Prerequisite: n/a

This course is a workshop-style course founded onýlanguage acquisition across the four domains ofýlanguage (listening, speaking, reading, andýwriting) and on the fundamentals of academicýlanguage to prepare students who are continuingýtheir development of English for college-levelýwriting courses at ArtCenter. English Language -ýDeveloping (EL -Developing) follows the EnglishýLanguage - Emerging (EL - Emerging) course inýsequence. This course continues to address theýdevelopment of college vocabulary, readingýcomprehension, and grammar for academic writingýbuilding from fluency in the four types ofýsentences (simple to compound-complex) andýextending to an understanding of the writingýprocess to construct paragraphs and short,ýacademic papers. The overall goal is to enableýstudents to express complex ideas about art andýdesign with clarity and precision utilizing allýfour language domains-listening, speaking,ýreading, and writing. However, more emphasis isýgiven to speaking (oral presentations) and writingý(academic papers) in this course.

Course number: HWRI-050
Prerequisite: n/a

This course is a workshop-style course founded onýlanguage acquisition across the four domains ofýlanguage (listening, speaking, reading, andýwriting) and on the fundamentals of academicýEnglish to prepare English-emergent students forýcollege-level writing courses at ArtCenter. ýEnglish Language - Emerging (EL - Emerging) coversýdevelopment of college vocabulary, readingýcomprehension, and grammar for academicýwriting-from the basics of parts of speech toýfluency in the four types of sentences (simple toýcompound-complex). The course also includesýinstruction in oral communication (e.g., VisualýThinking Strategies [VTS]) in order to developýconfidence in speaking, individuality inýperception, and objectivity in discussion. Theýoverall goal is to enable students to expressýcomplex ideas about art and design with clarityýand precision utilizing all four languageýdomains-listening, speaking, reading, and writing.

Course number: HWRI-040
Prerequisite: n/a

This class will immerse students in spoken andýwritten English communication skills needed forýsuccess as a student at ArtCenter. An alignmentýwith design classes taught in tandem promotesýstudent understanding of design vocabulary,ýpresentation skills and the practice of critique.ý In addition to building confidence and ability,ýthis class will also support preparation for theýwriting placement test used to place first termýstudents in a writing class for Fall semester.

Course number: HWRI-045
Prerequisite: n/a

Entrepreneur Studio: Jump-Start Your Businessý ýAre you an entrepreneur? Would you like to startýyour own business when you graduate? Thisýadvanced seminar style course prepares studentsýto launch a business, project, consulting firm,ýor product. Students will gain the businessýknow-how and skills to present to an incubator,ýprepare for a crowd funding campaign, apply forýloans, or pitch to angel investors, licensees orýpartners. Using the lean start-up method taughtýin the class students can further develop aýproject started in another class or create a newýproject from scratch. Students will be taught toýcreate a business model, a rollout strategy, andýcash flow analysis to develop a plan to scale aýbusiness or project over time. If appropriate toýthe project intellectual property applicationsýwill be developed. Individual and team projectsýare both encouraged. The basics ofýentrepreneurship covered in Intro toýentrepreneurship, Business of licensing- Start-upý101, or In the trenches is required as aýprerequisite, or special permission from theýprofessor through an application process.ý ýProfessor Krystina Castella has helped many ArtýCenter students, alumni and creativeýprofessionals establish their businesses acrossýdisciplines over her 25 years of teachingýentrepreneurship. This course offers theýopportunity to work with her on your ownýpersonalized action plan for your business.ý ýApplication process for students withoutýprerequisite:ý-1 page description of the project and what theýstudent hopes to accomplish in the class.ý-Bio and resume. ý-Recommendation letter from faculty member

Course number: HENT-306
Prerequisite: n/a

An entrepreneur is a true innovator, someone whoýrecognizes opportunities and organizes theýresources needed to take advantage of them. HenryýKaiser, the steel and automotive magnate, saidýthat entrepreneurs "Find a need and fill it."ýEntrepreneurship is about hard work, reducingýrisk, and promoting a simple solution.ýEntrepreneurs have a "prove it" attitude andýpursue a complete understanding of how theirýproduct works. Entrepreneurs leave nothing toýchance.

Course number: HENT-300
Prerequisite: n/a

THEME/CONTENTýýThe goal of ECamp is to provide an immersiveýcollaborative experience in entrepreneurship. Upýto 10 ArtCenter and 10 CSUN undergrads, inývarious majors, will come together to participateýand learn how to develop a viable pitch of aýbusiness idea to groups that can actually fundýthese businesses. The United Nations MillenniumýGoals (http://www.un.org/millenniumgoals/) haveýinformed ECamp's choice of the theme: SmartýCities: Eradicate Hunger. Students will formýteams to create a business that develops aýproduct to end hunger in Los Angeles and thenýpitch this concept in a Shark Tank-like settingýto real investors and city officials. To supportýthis, students will have workshops, lectures,ýin-class exercises and case study speakers onýBranding, Marketing, Economics, Design,ýProfessional Practice and Entrepreneurship.

Course number: HENT-307A
Prerequisite: n/a

THEME/CONTENTýýThe goal of ECamp is to provide an immersiveýcollaborative experience in entrepreneurship. Upýto 10 ArtCenter and 10 CSUN undergrads, inývarious majors, will come together to participateýand learn how to develop a viable pitch of aýbusiness idea to groups that can actually fundýthese businesses. The United Nations MillenniumýGoals (http://www.un.org/millenniumgoals/) haveýinformed ECamp's choice of the theme: SmartýCities: Eradicate Hunger. Students will formýteams to create a business that develops aýproduct to end hunger in Los Angeles and thenýpitch this concept in a Shark Tank-like settingýto real investors and city officials. To supportýthis, students will have workshops, lectures,ýin-class exercises and case study speakers onýBranding, Marketing, Economics, Design,ýProfessional Practice and Entrepreneurship.

Course number: HENT-307B
Prerequisite: n/a

This course explores the impact of overpopulation,ýurbanization, pollution, politics, andýenvironmental activism on the land, oceans, andýatmosphere. Such topics as endangered species,ýbiodiversity, overpopulation, animal rights,ýdeforestation, desertification, toxic waste,ýglobal warming, ozone depletion, wetlandsýdestruction, oceanic threats, and overgrazing willýbe covered. Students will be better informed toýinterpret complex environmental issues and applyýthem to their work and daily lives. They will beýbetter prepared to have their work, either designýor fine art, reflect the urgent nature of globalýconcerns. They will also be introduced to theýidea of science as the foundation of the realitiesýfacing our world today.

Course number: HSOC-282
Prerequisite: n/a

This course explores the impact of overpopulation,ýurbanization, pollution, politics, andýenvironmental activism on the land, oceans, andýatmosphere. Such topics as endangered species,ýbiodiversity, overpopulation, animal rights,ýdeforestation, desertification, toxic waste,ýglobal warming, ozone depletion, wetlandsýdestruction, oceanic threats, and overgrazing willýbe covered. Students will be better informed toýinterpret complex environmental issues and applyýthem to their work and daily lives. They will beýbetter prepared to have their work, either designýor fine art, reflect the urgent nature of globalýconcerns. They will also be introduced to theýidea of science as the foundation of the realitiesýfacing our world today.

Course number: HSCI-221
Prerequisite: n/a

The "Experimental Humanities," (sometimes calledýthe Digital Humanities), refers to new ways thatýHumanities scholars do their research byýincorporating digital and design approaches. Sinceýthe advent of digital computing,ýexperimentation-minded literary scholars,ýhistorians, and social scientists now work withýbig data, visualizations, critical making, andýmore to find meaning in cultural materials. Thisýcourse will provide an introduction to theýexperimental humanities by giving students ýhands-on experience with interpretative methodsýsuch as distant reading, multi-modal scholarship,ýand text analysis. The online course is taught inýthe networked medium of the experimentalýhumanities itself: the internet.?

Course number: HCRT-316
Prerequisite: n/a

The "Experimental Humanities," (sometimes calledýthe Digital Humanities), refers to new ways thatýHumanities scholars do their research byýincorporating digital and design approaches. Sinceýthe advent of digital computing,ýexperimentation-minded literary scholars,ýhistorians, and social scientists now work withýbig data, visualizations, critical making, andýmore to find meaning in cultural materials. Thisýcourse will provide an introduction to theýexperimental humanities by giving students ýhands-on experience with interpretative methodsýsuch as distant reading, multi-modal scholarship,ýand text analysis. The online course is taught inýthe networked medium of the experimentalýhumanities itself: the internet.?

Course number: HSOC-316
Prerequisite: n/a

Course Format: Workshop/ Independent Study ýThis workshop is a joint mathematics-atelier. Itýis a specialized exploration in higher mathematicsýand theoretical physics, which allows students toýpursue selected topics in advanced mathematicsýand physics to enhance their portfolio compendium.ýWe will conceptually study Cantorian infinity,ýgroup theory, algebraic and geometric topology,ýblack holes, string theory, and hologram theory,ýthe richest, most exciting current research areas.ýThe workshop is focused on the inclusiveýintersections of creativity and mathematics; aný'Alice in Mathematics Land' journey. The gradingýrubric consists of weekly studio projects, oneýdirected cumulative midterm and one directedýcumulative final project.

Course number: HSCI-301A
Prerequisite: n/a

This class will survey the history andýsignificance of fanfic from the early 1990's toýthe present. We will examine a range of culturesýand practices. Through charting the discourses ofýpathology and empowerment that circulate aroundýthe cultural conception of the "fan," we willýconsider contemporary debates around fan laborýand the commodification of fan culture. Inýaddition to critically analyzing fans'ýtransformative works, students will mobilizeýcourse concepts to produce and theorize fan textsýof their own.

Course number: HNAR-326
Prerequisite: n/a

Fashion is a way of thinking and doing thatýimpacts all aspects of our lives and is anýintegral part of all areas of design and media. ýThis class explores fashion concepts and theýprinciples of style through three differentýcultural case studies --ýýJapanese esthetic philosophies, materials, andýsocial narratives as represented through fashionýculture from the history of the kimono and isýdesign influence, to contemporary innovatorsýIssey Miyake, and Eri Matsui and their engagementýwith technology, mathematics and architecture.ýýBlack style and its meanings, impact andýinfluence, cultural esthetics and values, socialýand political narratives, and fahsion icons fromýChurch women to the Black Panthers, Diana Ross toýMichelle Obama.ýýFashion in entertainment and media culture -- howýpersonal style defines and expresses characterýand establishes cultural contexts in movies,ýtelevision, music and dance, and how itýinfluences fashion.ýýStudents will participate in research,ýpresentation, and collaborative and individualýfashion projects, as well as critique andýdiscussion.

Course number: HSOC-320
Prerequisite: n/a

This course is an examination of films andýdocumentaries that attempt to depict and revealý20th and 21st fashion designers and the impactýthey have on our times. The collection of filmsýthe course will study will be a nonlinearýpromenade through design histories revealing theýpredicaments that face contemporary society andýtheir implications of identity amidstýglobalization. The course will explore the trialsýfilm faces depicting fashion questioning whatýtypecasts may emerge or what advantageousýinformation is revealed. Films curated for theýcourse vary from new world fashion, to popularýmovements and films that set trends, to firstýcollections at the helm of major fashion houses,ýto tongue-in-cheek mockery of the fashion industryýall realizing vital design production needs andýdevelopments. The zoom remote course will beýpresented through lectures, screenings by stream,ýreadings, discussions, and research writingýassignments. This course provides that studentsýwill analyze the distinctive traits of film thatýcan or cannot communicate the complications andýdetails of design. This course introduces studentsýto the necessities of film analysis and helpsýstudents develop the skills to recognize, analyze,ýand describe film and design themes investigatedýby the course.

Course number: HNAR-348
Prerequisite: n/a

Fashion is inherently political. We see this fromýthe way our clothing produces social signals toýthe way it is bought, sold, worn and made. Clothesýsit at the threshold between self and other, asýsuch, they have often been a site for politicalýresistance and utopian experimentation. Just asýoften, our clothes divide us, enforcing race,ýclass and gender hierarchies. In this class, weýwill discuss texts by fashion designers, artistsýand theorists, tracing a history of fashion andýrevolution. Starting with the rise of the garmentýindustry, we will trace a path to the presentýmoment. Topics include the relationship betweenýfashion, race and protest, feminist and queerýhistories of dress, cyborgs, prosthetics, laborýand environmental collapse. Together, we willýengage in a collective reimagining of ourýrelationship to dress, and by extension, theýworld. ?

Course number: HCRT-335
Prerequisite: n/a

Introductory course providing a review of fashionýas a cultural industry, examining the productionýsystems and commercial institutions that compriseýthe contemporary global fashion industry. Studentsýwill learn about fashion through scholarlyýwriting, magazine articles, podcasts andýdocumentaries. This course aims to introduceýstudents to different perspectives on fashion,ýfrom a wide scope of media sources. Students willýwork on a research project analyzing a particularýaspect of fashion, synthesizing primary sourcesýand scholarly perspectives.

Course number: HHIS-354
Prerequisite: n/a

This course will introduce students to methodsýfor incorporating cultural immersion and socialýengagement into the creative process, with aýfocus on the diverse communities of Los Angeles.ýWe will examine how researching and making withinýreal-world urban contexts can inspire creativeýinterventions, foster cross-cultural dialogue,ýand expose students to unofficial knowledges andýalternative ways of learning. Participatingýstudents will create and conduct their ownýlocally based research projects that exploreýopportunities for active engagement with theýsocial, political, and cultural landscapes of ourýcity.

Course number: HSOC-303
Prerequisite: n/a

A Study of Modernity and Its Discontents. Thisýcourse is an auteur study in which we considerýAntonioni's challenges to traditional approachesýto storytelling, cinema, and realism in favor ofýintellectual contemplation and politicalýthoughtfulness. Starting with his earlierýneo-realist films, the course will moveýthroughout his 45-year career to consider his useýof action, image, radical narrative, disconnectedýevents, experimental color, and documentary.

Course number: HNAR-338
Prerequisite: n/a

This course is not a production film class, but aýcourse that composites possibilities of how toýview and interpret an Alfred Hitchcock film, (orýa film/sign), alongside an immense history ofýtheoretical and critical writings. The courseýexamines authorship, spectatorship, and identityýtogether with other issues of reflexive film, andýfilm's relationship to issues in painting,ýtheatre, architecture, opera, music and sound,ýand literature. We view and research Hitchcock?sýfilms by the use of multiple lenses including anýexpressionist's lens, a surrealist lens/or aýpsychoanalytical lens, a surveillance/voyeurýlens, a semiotic lens, supported by readings byýRaymond Bellour, Jacques Lacan, Slavoj Zizek,ýGilles Delueze, William Rothman, Leland Pougue,ýFredric Jameson and others. The course alsoýexamines the political and social atmospheres ofýthe times in which the films were made, andýidentifies the filmographies' affect/effect, itsýpop cultural manifestation and influence. Inýconnection, the course explores Hitchcock'sýuniversal themes, clarifies Hitchcockian space,ýsuspense, objects and the use of the McGuffin,ýand distinguishes his use of Hamlet persuadedýtheatre. Starting with the Pleasure Garden iný1927 and ending with Family Plot in 1976, theýdirector made 59 full-length films and scores ofýtelevision 1/2 hours plots that locate charactersýin a fear constructed social system.

Course number: HNAR-343
Prerequisite: n/a

This academic course considers methodically theýseminal work of Chris Marker, the Frenchýphotographer, writer and documentary filmmakerýwho combines journalistic montages of historicalýevents into cultural contexts that discloseýsocioeconomic political history. Marker's atýtimes collaborator Alain Resnais, also of theýFrench New Wave of the Left Bank Film Movementýonce called Marker "the prototype of theýtwenty-first-century man." The course willýexamine Chris Marker's works, focusing on hisýfilmography to include A Grin Without a Cat 1977,ýSans Soleil, 1982 and La Jetée, 1962- 66, theýevocative science-fiction fable told in stillýphotographs.ýýThe course will move onto to reveal Marker'sýlater works to include the review of hisýmulti-media works done for the Museum of ModernýArt in New York City entitled Immemorial (1998,ý2008) and an interactive multimedia CD-ROMýproduced for the Centre Pompidou. Considerationsýof how Marker's work is being examined today willýalso be topical for study. Marker's astonishinglyýdiverse career that spans more than 50 years toýinclude writing, photography, filmmaking,ývideography, gallery installation, television andýdigital multimedia will be examined to reveal howýthe exceptional works probe memory, culturalýmemory, history and the complications andýparadoxes of new electronic media technologies.

Course number: HNAR-346
Prerequisite: n/a

This academic course probes meticulously theýsocial, economic, political and naturalisticýcinema of the Belgium brothersýLuc and Jean-Pierre Dardenne. The DardenneýBrothers, writers, directors and producers haveýcreated a notable body of work to includeýdocumentary works and their narrative poeticýrealism. This courses fits into the analysis ofýcinema in the tradition of auteur study. Thatýbeing a very important structure to studyýtheoretical and formal issues of cinema via theýchronological analysis of a body of work toýobserve and consider how a body of work takesýplace over a long period of time and to observeýhow its text influences and parallels history.ýýThe course will investigate The Dardenne Brothersýmagnum opus to include Rosetta, 1999, The Son,ý2002 and several of their documentary works thatýcome prior to their notable success in theirýnarrative work. Issues of work, Europeanýeconomics along with political oversight of theýindividual immersed in social structures will beýstudied as they reveal themselves through theýbrother's cinematic form and language. The courseýwill draw from issues in the ethics ofýstructuring the documentary and its boundariesýthat lead such attempts at realism to confront orýbe uttered forth with visual poetics.

Course number: HNAR-345
Prerequisite: n/a

This course is an in-depth auteur study of one ofýthe most influential filmmakers of the NouvelleýVogue or French New Wave and his influence onýart, cinema, and critical thinking since hisýcareer began to the present day. Topics includeýGodard's defiance of the conventions ofýHollywood, his radical and unambiguouslyýpolitical understanding of film history, hisýeconomic and cultural views, his scholarlyýinterpretations of philosophy and cinema, hisýparticipation in film studies and film theory,ýand his thought-provoking associations betweenýpainting, poetry, and cinema.

Course number: HNAR-332
Prerequisite: n/a

This course is a comprehensive study of ItalianýNeo Realism: cinema's power to obsess and toýconvey the socio-economic, psychological, andýpolitical realities of the post WWII era, as wellýas its influence on new cinema and culturalýpolitics. Visconti's influence on world cinemaýremains a major voice in style and rhetoric, asýit influenced the work of Godard, Fassbinder,ýScorsese, and countless others.

Course number: HNAR-333
Prerequisite: n/a

This course is an auteur study of the films ofýMichael Haneke, one of the most importantýdirectors working in Europe today. The courseýwill consider and debate the world view ofýHaneke's films that frequently interrogateýprevailing contemporary ethical dilemmas withýprecise transparency and uncompromisingýobservation. The course will reflect on whyýHollywood in its monolithic denotation does notýknow how to interpret and consider these films,ýyet, film history, criticism and reputable filmýjuries across the world esteem this work withýtheir highest honors. Topics that the courseýwill cover include the misfortunes and barrenýnihilism that Haneke's political andýphilosophical considerations will be examined. Aýchronological selection of films will be viewedýrepresenting categories and interests thatýconcern Haneke's themes. Discussions, readingsýand research papers are organized to develop theýstudent's interests in visual culture alongsideýtheir own developing visual production.

Course number: HNAR-339
Prerequisite: n/a

An in-depth look at the films of RanierýFassbinder: director, screenwriter, actor, andýone of the most important figures in New GermanýCinema.

Course number: HNAR-334
Prerequisite: n/a

Comprehensive study of the social, economic,ýpolitical and formal complex cinema of RobertýBresson. Analysis of cinema in the tradition ofýauteur study.

Course number: HNAR-342
Prerequisite: n/a

This course examines the vast maze of social,ýpolitical, and psychological subjects Kubrick'sýfilms tour within their stylistic and conceptualýdensity. We will track recurrences and parallelsýbetween films, focusing on their historical andýtheoretical subtext, in order to clarify theýnature of his cinematic universe.

Course number: HNAR-336
Prerequisite: n/a

This course is an auteur study of the films ofýWoody Allen focusing on his strong background inýwriting with broad and heavy dialogues set inýfilm learning environments. The course willýinvestigateýwriting and its translations and interpretationsýinto film environments circling the political,ýsocial and psychological meanderings of the lastý60 years. Nihilism, cynicism, sarcasm and jokes,ýhow are they intertwined with our observations asýindividuals facing our complicated worlds. Theýcourse will outline and discuss comedicýstructures used in film as seen in thisýfilmogrpahy but will circumference historicalýcomedic structures. A chronological selection ofýfilms will be viewed representing categories andýinterests that parallel Allen's film history.ýDiscussions, readings and research papers areýorganized toýdevelop the students interests in visual cultureýand understanding their involvement in theirýworldýwith their own cultural production.

Course number: HNAR-347
Prerequisite: n/a

"This brand sponsored, footwear industry,ýstudy-away intensive has two main components: ý(1) three successive 2-week footwear designýassignments targeting Nike, Adidas andýUnderArmour and (2) two 1-week business coursesýat Portland State University Business School withýtheir students. ý1. Each 2-week design project will have recentýACCD alumni from these three footwear brandsýreviewing the students' work each evening leadingýto final presentations for each brand.ý2. The two business courses at PSU are part ofýPSU's summer Athletic & Outdoor program that willýexpose our students to footwear businessýpractices and interaction with footwear businessýstudents and guest lecturers from the footwearýbusiness outside of design. The courses willýcover business competitive dynamics and productýbriefing. The PSU product briefing course Iýteach will have the students from both programsýcooperate on a footwear product brief andýresultant product ideation."

Course number: HSAP-804A
Prerequisite: n/a

"This brand sponsored, footwear industry,ýstudy-away intensive has two main components: ý(1) three successive 2-week footwear designýassignments targeting Nike, Adidas andýUnderArmour and (2) two 1-week business coursesýat Portland State University Business School withýtheir students. ý1. Each 2-week design project will have recentýACCD alumni from these three footwear brandsýreviewing the students' work each evening leadingýto final presentations for each brand.ý2. The two business courses at PSU are part ofýPSU's summer Athletic & Outdoor program that willýexpose our students to footwear businessýpractices and interaction with footwear businessýstudents and guest lecturers from the footwearýbusiness outside of design. The courses willýcover business competitive dynamics and productýbriefing. The PSU product briefing course Iýteach will have the students from both programsýcooperate on a footwear product brief andýresultant product ideation."

Course number: HSAP-804B
Prerequisite: n/a

French Basic: A Primer Through Literature andýDesign is a fun, twelve-week project-based course,ýwhich explores pioneers in the art and designýworld while teaching basic conversational andýwritten French. Through examples of the works ofýSophie Calle, the OULIPO movement, to name a few,ýstudents will learn how to decipher, then bring toýlife the French language as art, and art asýlanguage.

Course number: HHUM-104
Prerequisite: n/a

Real-life design challenge in a universityýsetting on the topic of future craft China. ýTongji and ArtCenter student will co-create withýcommunities to design products and systems thatýrevitalize craft traditions, support the nextýgeneration of migrants, and generate urban-ruralýsynergies.ýýProposed Learning Outcome: Students will gainýreal-world experience to tackle current designýchallenges in an international cosmopolitanýsetting with networking opportunities forýinternships and future employment.

Course number: HSCI-804A
Prerequisite: n/a

Real-life design challenge in a universityýsetting on the topic of future craft China. ýTongji and ArtCenter student will co-create withýcommunities to design products and systems thatýrevitalize craft traditions, support the nextýgeneration of migrants, and generate urban-ruralýsynergies.ýýProposed Learning Outcome: Students will gainýreal-world experience to tackle current designýchallenges in an international cosmopolitanýsetting with networking opportunities forýinternships and future employment.

Course number: HSCI-804B
Prerequisite: n/a

The future isn't just something that happens butýsomething that can and should be shaped by peopleýwith vision; choosing the correct path cannot beýleft entirely to the scientists andýtechnologists, nor to politicians andýentrepreneurs. This class will focus onýunderstanding the basic science behind theýupcoming revolutions in bio-technology,ýartificial intelligence, and quantum science, andýon engaging students in developing a sharedývision of a desirable future. Topics willýinclude: robotics and artificial intelligence;ýquantum, nano, and bio-technology; future energyýsources; and mankind's possible future in space.ýThe range of problems that our society will faceýin coming years will be discussed, withýparticular emphasis on the science behind issuesýsuch as global warming. Ethical dilemmas posed byýtechnology will also be explored.

Course number: HSCI-216
Prerequisite: n/a

This TDS will explore the "Future of Sports" inýBerlin - a city that has a significant history inýsporting events and a culture that continuallyýredefines what sport means to its individuals andýthe community. The project will be sponsored byýAdidas and Canyon Bikes with potential otherýsponsors. Topics to be explored include: futureýconcepts in footwear, apparel, equipment, brandedýevents and retail, digital interaction, etc. thatýwill redefine the future performance andýparticipation in sports. The project willýleverage the immersion into the Berlin cultureýand interacting with local experts, sponsors andýdesigners.ýýAvailable to fifth term and above students byýapplication.ýýExperience working in trans-disciplinary teams.ýImmersion into the unique Berlin culture toýinspire project direction. Conceptualýdevelopment of future-forward vision-castingýideas. Interacting with professionals fromýsponsoring organizations.

Course number: HSOC-802A
Prerequisite: n/a

Should the design of spaces modify our socialýbehavior? Can lighting andýceiling height really impact our mood? Weýentertain these and otherýquestions in Intersections - a course thatýintroduces you to the concept andýpractice of using cognitive science to cultivate aýspatial design mindset. Theýoverarching goal of the course is to introduceýstudents to the designýpossibilities and benefits of acting on a unifiedýtheory of architectural / spatialýdesign that recognizes the value of addedýcognitive science research.ýThroughout the term, we take a cross-sectorýperspective and focus on theýspatial research and theories developed byýcontemporary architects andýneuroscientists. We will fine tune our questionsýby looking at remarkable,ýspatial projects made possible throughýpartnerships of architects, spatialýdesigners and cognitive neuroscientists. Theseýprojects show us how aýcollaboration between designer and scientist canýdisrupt current spatialýpsychology and invigorate user research forýspatial design and spatial justice.ýStudents will have a chance to conduct and presentýindependent andýcollaborative user research into a topic ofýspatial psychology and spatial justiceýthat is informed by cognitive science. By the endýof the term, members of theýcourse will have solved a mystery and be able toýshow evidence of how spatialýdesign impacts how we live, work, play and heal.

Course number: HSCI-332
Prerequisite: n/a

This course will find students (alongside theirýinstructor) grappling with human desire andýcreativity in the individual quest forýfriendship, sex, power, and love. Throughýreading, writing, discussion, and artmaking,ýwe'll tackle important, if potentiallyýuncomfortable issues surrounding childhoodýsexuality, intersexuality, perversion,ýpornography, prostitution, casual sex,ýacquaintance rape, dating, and marriage-and theýethical concerns to which these issues inevitablyýgive rise. As an undergraduate philosophyýseminar, we'll generally raise difficultýquestions rather than accept stock answers.ýThroughout, we'll try to maintain our composureýeven when a little vulnerability is called forýand the facts are in dispute. The onlyýprerequisites are an open mind and an interest inýself-exploration.

Course number: HCRT-201
Prerequisite: n/a

Much of today's popular storytelling is informedýby genre conventions that originated inýliterature more than 100 years ago, specificallyý(and chronologically) in Gothic, Detective, andýSci-Fi novels and short stories. Understandingýthe "language" of these genres makes us moreýfluent and adept contemporary storytellers, andýcan inspire us to innovate, to create somethingýnew. This class will define, track, and evaluateýconventions in these genres through to theýpresent day, attending especially to texts thatýcombine tropes from more than one kind of story.ýStudents will generate critical and creativeýresponses to the material covered in class.

Course number: HNAR-313
Prerequisite: n/a

In this literature class, we'll look at "girlýheroes" from Antigone to Buffy Vampire Slayer,ýlooking at what shapes our heroines, and howýcreators fall in line or challenge what massýculture tolerates in powerful women. Texts will beýselections of literature (The Metamorphoses,ýAntigone, The Hunger Games, The Power), and mediaý(Buffy, Miss Americana, Charlie's Angels etc.),ýand also critical essays by Carina Chocano, andýEmily Naussbaum, among others.

Course number: HNAR-304
Prerequisite: n/a

This course surveys international artisticýdevelopments in relation to cultural debates andýtheoretical frameworks that have structured theýdiscourse of contemporary art post-1980. For eachýclass a selection of pivotal artworks and/orýexhibitions related to a specific problematicýwill be examined alongside a variety of texts,ýranging from artists' writings, critical theory,ýto art criticism. Organized more thematicallyýthan chronologically, the course will analyzeýtheorizations of postmodernism as well as issuesýregarding the critique of representation,ýidentity politics, postcolonialism,ýglobalization, the expanding art market, and theýgrowth of contemporary art institutions duringýthe last decades of the 20th century and into theý21st.

Course number: HHIS-325
Prerequisite: n/a

By the mid-1990s, epidemics had seeped both intoýthe cultural consciousness and public discourse.ýSince then, outbreak narratives have continued toýresonate with changing anxieties in the Americanýcultural and social fabric. This course willýfocus on American films and TV shows from theýmid-1990s to the present that depict the threeýmain types of outbreak narratives: TheýGlobalization Outbreak includes those (likeýContagion and Outbreak) that focus on theýrepercussions of globalization and the ultimateýfailure of national boundaries to protect; TheýTerrorist Outbreak includes those (like 24 and 12ýMonkeys) centered around the threat ofýbio-terrorism; The Post-Apocalypse Outbreakýincludes those (like World War Z and The WalkingýDead) that explore what happens after the virusýhas decimated populations. This section will alsoýcontinue a discussion of the contemporary zombieýfigure.

Course number: HNAR-380
Prerequisite: n/a

In this course, English Language Learners developýproficiency in English Language reading,ýspeaking, and writing as it relates to graduateýlevel discourse and critique.

Course number: HWRI-511
Prerequisite: n/a

This is a general writing advising workshop forýgraduate students seeking help with theirýwriting. No enrollment required. Check with yourýdepartment for advising workshop office hours.

Course number: HHUM-005
Prerequisite: n/a

This course traces the development of visualýcommunication from the first evidence of humanýimage-making through the mid 20th century,ýincluding the evolution of letterform design fromýthe earliest pictograms into the Middle Ages andýthrough the Industrial Revolution. Social,ýscientific, and technological development areýstressed as factors impacting the field. Throughýlectures, readings, and assigned essays, mediaýpresentations, and exams, students hone theirýability to recognize conceptual and stylisticýtrends from the past and how they communicatedýideas in the service of education, politicalýmessaging, business/commerce, and arts andýculture. This knowledge will help students solveýproblems in today's studio graphics classes andýclarify the current influence of graphic designýon how society thinks about itself and theýproducts it consumes, plus the role of visualýcommunications in politics.

Course number: HHIS-240
Prerequisite: n/a

This course presents a critical examination ofýissues, theories, and practices relevant toýcontemporary professional graphic communication,ýwith an emphasis on design creativity andýprogress as rooted in artistic, cultural,ýpolitical, economic, and technological contexts.ýThe class picks up from Graphic Design History 1ýat the mid-century Modernist era, examining anýeclectic diversity of significant individuals andýgroups up to the present. Topics of discussionýinclude Postmodernism, new media, and designýethics.

Course number: HHIS-340
Prerequisite: n/a

A course in which we examine the application ofýcomics language to represent facts, information,ý"the truth." This class 1) engages participantsýin a model research process and 2) developsývisual and other literacies by immersing us in aýmedium uniquely suited to offer a meaningful viewýinto, and connection with, other peoples'ýinterests, histories, perspectives, and lives.ýBroad topics include Memoir, Autobiography,ýBiography; Journalism & Reportage; and Histories,ýPhilosophies, Misc. Facts & Figures. Studentsýwill read comics/graphic novels and some theory,ýlead and engage in discussion of these texts, andýmake at least one "true comic" of their ownýduring the term.

Course number: HNAR-222
Prerequisite: n/a

Whether your interests lie in narrative, inýarchetype, in religion, in social and politicalýorganization, or in the development of "Western"ýethics and mores, the collection of works thatýcontain what we think of as mythology areýindispensable resources to understanding some ofýthe base material from which emergedýEuropean/American civilization. In this course weýwill read some of the major works of Greek andýRoman "mythological" writing, as well as lookýinto the historical contexts that helped toýcreate the stories that continue to vibrate inýthe imaginations of we who are almost 3,000 yearsýremoved from the oldest of the texts.

Course number: HNAR-320
Prerequisite: n/a

Course number: HBPP-496
Prerequisite: n/a

Course number: HBPP-396
Prerequisite: n/a

Course number: HSCI-496
Prerequisite: n/a

Pseudo course block

Course number: HHIS-000.PC3
Prerequisite: n/a

Pseudo Coure Block

Course number: HHIS-110.PC3
Prerequisite: n/a

Pseudo course block

Course number: HHIS-200.PC
Prerequisite: n/a

Psuedo course block

Course number: HHIS-220.PC
Prerequisite: n/a

Pseudo course block

Course number: HHIS-222.PC
Prerequisite: n/a

Pseudo course block

Course number: HHIS-270.PC
Prerequisite: n/a

Psuedo course block

Course number: HHUM-000.PC3
Prerequisite: n/a

Psuedo course block

Course number: HSCI-150.PC3
Prerequisite: n/a

Psuedo course block

Course number: HSCI-000.PC3
Prerequisite: n/a

Pseudo course block

Course number: HSCI-000.PC1
Prerequisite: n/a

Psuedo course block

Course number: HSOC-000.PC3
Prerequisite: n/a

Psuedo course block

Course number: HSOC-101.PC3
Prerequisite: n/a

Psuedo course block

Course number: HSOC-101.PC
Prerequisite: n/a

Psuedo course block

Course number: HHUM-001.PC3
Prerequisite: n/a

Psuedo Course Block

Course number: HHIS-254.PC3
Prerequisite: n/a

This course is an examination and overview of theýhistories of film comedy deliberating from itsýroots in ancient Greece and early vaudeville toýthe present day. The course will consider variousýcomedic structures, traditions and periods,ýspanning Commedia Dell'Arte, burlesque, clowning,ývaudeville, cabaret, silent film, slapstick,ýparody, anarchic comedy, black comedy, screwball,ýaction, standup, television, sci-fi comedy,ýromantic comedy to present-day You-Tube, Tik-Tokýand other online tendencies. Social, politicalýand philosophical meanings and intentions will beýconsidered. The zoom remote course will beýpresented through lectures, screenings by stream,ýreadings, discussions, and research writingýassignments. This course provides that studentsýwill analyze the distinctive traits of film comedyýtoday within the broader context of cinema historyýand comedy history. This course introducesýstudents to the essentials of film analysis,ýcinematic formal elements, genre, and narrativeýstructure and helps students develop the skills toýrecognize, analyze, and describe film.

Course number: HNAR-353
Prerequisite: n/a

Interaction design and digital technology areýchanging the way humans relate to everything,ýfrom games to relationships to work. Designers ofýdigital technology products no longer regardýtheir job as designing a physicalýobject--beautiful or utilitarian--but asýdesigning our interactions with it. This classýintroduces the industry's history, from humans'ýfirst tools through the industrial revolution toýcomputer-supported tools of interaction design.ýCharting the history of entrepreneurial design inýtechnology, students will see how their ownýdesign process, focusing on people andýprototypes, prepares them for emergingýtechnologies, social change, and the future ofýhuman interactions.

Course number: HHIS-260
Prerequisite: n/a

This course will study the history and theory ofýarchitecture relevant to the production of 21stýCentury spatial and temporalýscenography, urban design, building, gamingýenvironment, media entertainment, and landscapeýpractices. Through a survey of majorýmovements in architecture, theater, mediaýtechnology, and environmental design - from theýancients to postmodern and post-digital -ýwe will study how the design and construction ofýour built and imagined environments evolves andýadvances contemporary society andýworld culture.

Course number: HHIS-212
Prerequisite: n/a

This course will explore the history ofýtechnology, considering new technologies asýdrivers of political and social change, whileýtechnological artifacts embody values andýassumptions of the societies that produce them.ýSince technology is both fostered and influencedýby socio-economic, legal, and political contexts,ýthese, too, will be explored. How can we thinkýabout media technologies in a critical way? Howýcan we understand the ways they impact society andýdrive social change? How do they reflect socialývalues and divisions? After all, technologyýreflects and shapes our understanding of identity,ýtime, class, gender, space, labor, and politics.ýBy the end of the course, students should be ableýto understand the history of technologicalýinnovation, as well as various ways by which toýassess the relationship between society,ýtechnology, and media.

Course number: HHIS-297
Prerequisite: n/a

Life in the 21st century (especially in LosýAngeles) is increasingly dominated by a highlyýcomplex media world, whether this be visualýrepresentations, forms of labor and the demand toýearn a living, the ecological impacts of mediaýtechnologies, or surveillance, to name only a fewýaspects. One approach to making sense of thisýworld is through the field of media studies andýHistory & Theory of Media & Technology will askýstudents to consider what "medias" are and whatýthey do, as well as to consider the connectionýbetween medias and socio-economic issues. In thisýcourse we will examine key concepts, texts, andýart works in media studies, their historical andýcontemporary contexts, and in terms of theirýrelationship to gender, sexuality, racialization,ýclass, politics, economy, and ecology. By the endýof the semester students will have a strongýfoundation in media studies and will be asked toýdo a final project that examines a key conceptýfrom the course and its social and artisticýsignificance.

Course number: HHIS-314
Prerequisite: n/a

Life in the 21st century (especially in LosýAngeles) is increasingly dominated by a highlyýcomplex media world, whether this be visualýrepresentations, forms of labor and the demand toýearn a living, the ecological impacts of mediaýtechnologies, or surveillance, to name only a fewýaspects. One approach to making sense of thisýworld is through the field of media studies andýHistory & Theory of Media & Technology will askýstudents to consider what "medias" are and whatýthey do, as well as to consider the connectionýbetween medias and socio-economic issues. In thisýcourse we will examine key concepts, texts, andýart works in media studies, their historical andýcontemporary contexts, and in terms of theirýrelationship to gender, sexuality, racialization,ýclass, politics, economy, and ecology. By the endýof the semester students will have a strongýfoundation in media studies and will be asked toýdo a final project that examines a key conceptýfrom the course and its social and artisticýsignificance.

Course number: HSOC-314
Prerequisite: n/a

This course explores the multifaceted nature ofýurban, public, and private spaces, paying specialýattention to the sociopolitical, cultural, andýeconomic forces that shape our builtýenvironments. We will review a range ofýscholarship from various academic disciplines andýintellectual spheres, but remain focused on theýrealm of design and particular design productsýthat provide us with a framework to understandýthe context within which particular spatial andýdesign outcomes are observed. Aiming toýcontextualize various phases of design andýspatial strategies since the late 18th century,ýwe will pay particular attention to the forcesýthat "produce" space, recognizing that gender,ýculture, and the everyday life of cities must beýconsidered and evaluated against variousýtheoretical and ideological perspectives.ýInterior and exterior spaces, exhibits,ýentertainment spaces, bars, cafes, sites ofýcollections (e.g., museums), and many otherýrealms that define and are affected by designýwill be analyzed in order for us to understand,ýalbeit in an ephemeral manner, the forces thatýshape what we call our spatial experience.

Course number: HHIS-390
Prerequisite: n/a

History and Theory of Space: Looking BackýýRather than a survey course that focuses solelyýon the social production of space throughoutýhistory, this class examines the ways in whichýenvironmental designers and architects in theý19th and 20th centuries have looked backwards,ýborrowing from other traditions and appropriatingýthe signs and aesthetic qualities from pastýcultures to produce spaces that became entirelyýemblematic of their own time. By using thisýanalytical lens, students will both learn howýspace was conceptualized according to a given setýof social, cultural, political and economicýforces as well as the way in which these elementsýget examined and rewritten anew according to aýnew set of historical constructs. Layering ourýanalysis in this way allows us to explore aýgreater breadth of work while probing the waysýdesigners, through their work, have engaged in aýdialogue across space and time.

Course number: HHIS-293
Prerequisite: n/a

This course offers students a historical andýanalytical review of global developments in theýdesigned environment from the 18th to the 20thýcenturies. The course explores design philosophiesýand the relationship between varying scales ofýdesign, taking into account their cultural,ýgeographic, industrial, technological, andýsociopolitical contexts. It examines buildingýmaterials, changing conditions of production,ýshifting concerns about the designed environment'sýsocial purpose, and representation.Throughýlectures, assignments, and discussions, studentsýwill gain an understanding of the differentýhistoric period and artistic characteristics ofýinterior spaces, architecture, landscape, andýurbanism.

Course number: HHIS-299
Prerequisite: n/a

Course number: HHIS-TRNSFR
Prerequisite: n/a

This class will survey the history and theory ofýentertainment with a special focus on film,ýtelevision, fanfiction, cartoons, comics, games,ýthe web, vr, ar, mxr as domains of representationýand participation. Entertainment is understood asýa cultural product with the primary goal toýdeliver a pleasurable experience to its audienceýanalyzed within the broader artistic, social,ýpolitical, economic, and technological contexts ofýmany diverse cultures and eras.ýThe first part of the course discussesýentertainment from the perspective of mediaýspecificity, combining history and theory, fromýthe perspective of technological innovationýrelated to the pleasure of the audience. Theýcourse aims to draw larger arcs (lineages)ýconnecting seemingly disparate phenomena in orderýto discuss and contextualize concepts such asýstorytelling, immersion, media convergence amongýothers. The second part of the course discussesýentertainment as embedded in complexýsocio-cultural, political and economic structures.ýThe course examines the historical and culturalýcontexts of race, gender, and class and theirýinfluence upon and expression within the realm ofýentertainment. The class is meant to nurture aýdiscursive and collaborative environment. Alongýwith lecture modules, it largely builds upon theýcontributions of the students in the form ofýwriting blog entries, short texts and produceýmedia-rich reviews that mobilize course concepts.

Course number: HHIS-213
Prerequisite: n/a

This course is a critical survey of the historyýof American television, from the 1940s to theýpresent. The course examines theýinterrelationships between programming and genre,ýbusiness practices,social trends, and culture.ýWhile television programs will be surveyed inýterms of chronology, this course examines them asýcultural artifacts and industrial products thatýreflect such issues as class,consumerism, gender,ýdesire, race, and national identity. Assignedýtexts and screenings will outline majorýhistorical trends and shifts,and considerýprograms and series in terms of cultural issuesý(issues of gender, race, ethnicity, sexuality),ýconsumption patterns (how people have watch andýengage with TV), as well as industrial practiceý(policy, regulation, business strategy). Thisýcourse is designed to help develop a criticalýframework for understanding television as aýcultural, economic,and political institution andýto encourage students to become criticallyýinformed television viewers, media scholars, andýmedia makers.

Course number: HHIS-235
Prerequisite: n/a

This course is a critical survey of the historyýof American television, from the 1940s to theýpresent. The course examines theýinterrelationships between programming and genre,ýbusiness practices,social trends, and culture.ýWhile television programs will be surveyed inýterms of chronology, this course examines them asýcultural artifacts and industrial products thatýreflect such issues as class,consumerism, gender,ýdesire, race, and national identity. Assignedýtexts and screenings will outline majorýhistorical trends and shifts,and considerýprograms and series in terms of cultural issuesý(issues of gender, race, ethnicity, sexuality),ýconsumption patterns (how people have watch andýengage with TV), as well as industrial practiceý(policy, regulation, business strategy). Thisýcourse is designed to help develop a criticalýframework for understanding television as aýcultural, economic,and political institution andýto encourage students to become criticallyýinformed television viewers, media scholars, andýmedia makers.

Course number: HSOC-235
Prerequisite: n/a

Beginning with the Paleolithic and Neolithicýperiods and extending into the High Renaissance,ýwe will examine the interrelationships betweenýthe production and consumption of art, andýscience and religion. How have the latterýinfluenced the former? What roles have religiousýinstitutions and scientific discoveries had onýartists and designers? How have artists andýdesigners responded to the demands of religiousýinstitutions and the discoveries of scientists?

Course number: HHIS-220
Prerequisite: n/a

Students in the course will examine the diversityýof artistic production (painting, sculpture, andýarchitecture, among others) in Europe during theý15th to the late 19th centuries, a time ofýtremendous historical change. They will analyzeýthe ideas and values encoded in the mostýsignificant works of art to arise from thisýperiod by considering the social, cultural, andýpolitical circumstances in which these objectsýwere produced and understood. Students willýexplore not only how objects were shaped by theýsociety in which they were made, but also how artýcontributed to social and politicalýtransformation. The required text will provideýthe chronological bearings, historicalýbackground, and images for the course.

Course number: HHIS-221
Prerequisite: n/a

Students will engage with the history of visualýculture in the second half of the twentiethýcentury, with an eye to how the conventions ofýartistic practice, its criticism, and itsýexhibition change during this era. We willýconsider a variety of media, including painting,ýphotography, film, performance, sculpture, andýinstallation, and will examine the shifting rolesýof each in the realm of contemporary culture. Weýwill also investigate the changing significanceýof terms such as Modernism, avant-garde, andýauthor within the social and cultural realm. Weýwill remain focused on the always-changingýpolitical landscape over the past sixty years,ýincluding the trauma of one World War, the ColdýWar, the various liberation movements starting inýthe 1960s, the dissolution of the Communist Bloc,ýand the AIDS crisis, in addition to theýever-growing late-capitalist globalization weýcontinue to experience today.

Course number: HHIS-222
Prerequisite: n/a

This course will examine the history, evolutionýand significance of automobile design around theýworld. We will work roughly chronologicallyýforward, focusing on two particular aspects ofýdesign. The first area of focus will be designersýwho were responsible for the development ofýindividual marques and models over the decades andýthe traditions in which they were working (orýbreaking away from). Secondly, we will focus theýhistory and evolution of particular internal andýexternal design elements of cars themselvesý(dials, gauges, bodywork, colors, shapes,ýglasswork, etc.). An essential emphasis will beýplacing this design work in a larger historicalýcontext.

Course number: HHIS-281A
Prerequisite: n/a

Students explore how the aesthetic and technicalýdevelopment of the cinema (from its beginningsýuntil 1941) established, defined, refined, andýchanged the nature of the medium and the way weýsee, in the context of historical, cultural,ýpolitical, and socio-economic determinants.ýStudents also examine the ideas, implications,ýand ramifications of important trends, movements,ýstyles, genres, theories, and directors. Finally,ýthrough intensive analysis of the ways in whichýthe formal elements of design of the image areýmanipulated for expressive purposes, studentsýlearn how to really "see" and more fullyýexperience the expansive potential of the cinema.

Course number: HHIS-230
Prerequisite: n/a

Students explore how the aesthetic and technicalýdevelopment of the cinema (from 1941 to theýpresent) defined, refined, and changed the natureýof the medium and the way we see, in the contextýof historical, cultural, political, andýsocio-economic determinants. Students alsoýexamine the ideas, implications, andýramifications of important trends, movements,ýstyles, genres, theories, and directors. Finally,ýthrough intensive analysis of the ways in whichýthe formal elements of design of the image areýmanipulated for expressive purposes, studentsýlearn how to really "see" and more fullyýexperience the expansive potential of the cinema.

Course number: HHIS-231
Prerequisite: n/a

This is a film genre course focused on filmsýconcerned with the planet earth and the ecology.ýIt will track and survey films starting from earlyý20th ca film history reflecting on modernity andýthe environment and proceed up to current filmsýthat directly attend to the ecological condition.ýThe study will categorize documentaries, fiction,ýnewsreel, advertising, public service ads, andýdigital media and some painting and photographyýthat attend to the ecological concerns scienceýwarns and hopes to resolve. Course purposesýinclude understanding and considering this topicýis not new and questions how it has been dealtýwith before the crisis we find ourselves in now;ýreflects upon the problems and strategies ofýcommunicating environmental data and ecologicalýissues that are single and multifold; andýquestions audience/viewer habits and literaciesýdeliberating how this is imperative to address forýbetter results. Along with lectures, the classýviews and discusses a precise curation of films,ýtelevision, digital, painting and writing spanningýecological categories, subjects and positions.

Course number: HNAR-383
Prerequisite: n/a

From the scripted spaces of the Baroque to theýmediated streets of today's cities, from theýbirth of cinema to the manipulation of space inýcontemporary media, this history course exploresýworlds invented through technology. We learn howýpolitics and the body are part of the convergenceýof media and entertainment from the nineteenthýcentury arcade, to the vaudeville circuit, toýConey Island, to Theme Parks and themed cities;ýfrom early cinema to the late 20th centuryýextension of the body through special effects andýhidden effects, to the parallel worlds thatýinvade us, and lure us. We also criticallyýexamine emerging trends and contemporary modes,ýand ruptures still remaining from media in theýpast, plus how the viewer responds to all theseýentertainment environments.

Course number: HHIS-211
Prerequisite: n/a

Entertainment design history develops students'ýability to conceptualize and express creativeýideas related to stories and experiences.

Course number: HHIS-210
Prerequisite: n/a

This course examines the history of high fashion, from Louis XIV through the 20th Century. Through audio-visual presentations, the course will focus not only on the origins of European high fashion design but the environments, objects and culture within each period. Through quizzes, exercises, and term project, students will be encouraged to use best practices to relate historic research back to their own majors.

Course number: HHIS-254
Prerequisite: n/a

This course presents an overview of cinema historyýfrom 1960-2000, with attention to the cultural,ýpolitical, economic, and technological forces thatýhelped to shape cinema during this time.ýSignificant trends within the U.S. are studied,ýincluding new and changing genres, independent andýmaverick filmmakers, and the dominance ofýHollywood blockbusters. Students are introduced toýnational cinemas in Asia, Africa, and LatinýAmerica.

Course number: HHIS-232
Prerequisite: n/a

This course examines the history of illustration,ýfrom the perspective of pop culture, by' joiningýthe dot's' between Illustration, fashion, design,ýart, architecture, music and photography. Studentsýwill study more than 1000 images to re-examine howýIllustration style, content and message hasýinfluenced and been shaped by the many divergentýcreative forces which combine contemporary globalýculture. Class discussion topics include:ýIllustrative innovation, Illustration asýcommunication, and the enduring beauty and powerýof Illustration as an instrument for dialog,ýexpression, connection and change.

Course number: HHIS-250
Prerequisite: n/a

This course provides a basic understanding of theýmovements, ideas, and events of industrial designýhistory over the past 150 years, and reveals,ýthrough study of past masters, both how theýprofession has evolved to its present state andýwhere it is going. The class will serve as aýfoundation for a life well spent in the practiceýof design.

Course number: HHIS-280
Prerequisite: n/a

This course introduces several thousand years ofýthe history of Latin American art (ca. 2000ýBCE-2000 CE) with an emphasis on modern andýcontemporary art from the 1820s to the present.ýThe course begins with an overview of pre-Contactýcultures of Mesoamerica and the Andes. Our studyýthen considers the art of the colonial period toýthe independence movements of the 1820s, theýEurocentric academic art of the 19th century,ýpopular art and visual cultures, and the rise ofýmodernism across Latin America in the 1920s. Weýwill finish our course with selections ofýcontemporary Latin American art. We will examineýhow Latin American artists have built on theýregion's shared artistic legacies as well asýadapted to outside influences.

Course number: HHIS-310
Prerequisite: n/a

This academic course presents an artistic,ýcultural, and social history of photography.ýThrough readings of critical texts, slideýpresentations, movies, and a field trip, studentsýwill examine the varied uses and functions ofýphotography. Themes include: war photography andýethics, the history of food photography, theýportrait, and the pictures generation.

Course number: HHIS-270
Prerequisite: n/a

This academic course offers a thematic survey ofýhistorical and contemporary issues pertaining toýphotography, in the context of art and the worldýat large. Through readings of critical texts,ýslide presentations, movies, and a field trip,ýstudents will examine the ways that photographyýhas been utilized by artists, journalists,ýscientists, amateurs, and a range of otherýpractitioners; how meaning has been constructedýin the photographic image; and how photographyýhas been used in society. Themes include: newýtopographics, photography and documentary, theýphotographic archive, and the digital world.

Course number: HHIS-271
Prerequisite: n/a

Everything, and everyone, has a history thatýinforms our present and future. This historyýstretches back into the past, and every historyýhas its own history. The influence of science hasýsaturated social, cultural and political lifeýaround the world for centuries. This class isýdesigned to introduce you to the history ofýscience and technology, starting in the 16thýcentury and going up through the twentiethýcentury and into the 21st, and emphasizing theý19th and 20th centuries. ýýThe course topics will be global, although withýan accent on Western science and technology.ýRather than being comprehensive (an impossibleýtask), we will work through six specific topics.ýEach of these topics has a long arc and covers aýtremendous amount of useful breadth and depth, asýfollows: Biological evolution; the history ofýscientific illustration; the history of color andýcolor theory; the history of models (theýuniverse, evolution, revolutions in science,ýetc.); environmental history; and aerospace andýthe Cold War. We will also have several guestýspeakers, and visit several exhibits andýlibraries.

Course number: HHIS-291
Prerequisite: n/a

In the era of digital convergence, video has comeýto represent anything that combines moving imageýand sound, providing legitimacy to all new forms.ýAs the materiality and specificity of video andýfilm has lessened, and as media, nearly obsolete,ýa consideration of its history and contributionýto art is essential in understanding art of ourýtime. Students will acquire critical skillsýthrough studying and analyzing the development ofýtheoretical discourses that frame past andýcurrent issues surrounding the production andýinterpretation of the electronic image byýartists. Videotapes addressing cultural, ethnic,ýand social concerns throughout the world will beýscreened, analyzed, compared and contrasted.ýIncludes an overview as to how the technology hasýevolved in relation to creative output. Examplesýwill be shown of the earliest origins of videoýart and "alternative media" by artists whoýparticipated in its evolution--which in many waysýstarted as a revolution-- to the current trend ofýart on the Internet, cellphone, and VR. Includesýlectures, readings, and screenings, includingýseminal and often unseen videos to currentýinnovations.

Course number: HHIS-275
Prerequisite: n/a

In the aftermath of WWII, information theoristsýand ergonomics experts joined forces to test aýnew hypothesis: if complex technological systemsý(e.g. vehicle control panels, consumerýelectronics, interstate highways) could beýdesigned to mesh with the needs and abilities ofýtheir human users, then it might be possible toýfacilitate proper use--and to preventýdisasters--without any advance training orýinstruction. From these experiments was born theýuser, a creature ensconced in a world of toolsýand networks customized to his or her uniqueýphysiological and psychological preferences.ýToday, there is hardly a field of design practiceýthat has not incorporated the paradigm of userýexperience design (UxD) as part of its coreýmethodology--indeed, the memory of a time beforeýthe user has all but faded. To correct thisýpervasive amnesia, this course takes a critical,ýin-depth look at the history and theory ofýuser-oriented design from the early 1900s to theýpresent day. Through writing and creativeýprojects, students will be asked to reflect onýthe status of the user in their own practicesý(whether in design or fine art), and to ask whatýkinds of behavior--personal as well asýpolitical--this term does and doesn't allow.

Course number: HHIS-265
Prerequisite: n/a

How Things Work develops introductory skills toýbecome a professional concept artist. This courseýexplains the principles of analyzing mechanismsýand processes to address the student's needs to beýentertainment design thinkers and professionals.

Course number: HHIS-150
Prerequisite: n/a

How Things Work develops introductory skills toýbecome entertainment design thinkers andýprofessional concept artists. Hands-on explorationýof principles from engineering and physics areýused to improve storytelling by creating depth andýimmersion in the worlds and concepts the studentsýcreate, while overcoming traditional fearsýassociated with hard sciences.

Course number: HSCI-281
Prerequisite: n/a

Psuedo course block

Course number: HSCI-281.PC3
Prerequisite: n/a

This course will familiarize students withýgeneral human factors principles that are at theýheart of any effective design. Students will beýintroduced to areas of human performance,ýcognition, ergonomics, memory, and behavior.ýReading assignments plus in-class and take-homeýprojects will expose students to a variety ofýhuman factors theories and design examples. Twoýgroup projects are required: these allow studentsýto apply the principles they have learned.

Course number: HSCI-202
Prerequisite: n/a

Using art, novels, movies, plays, speakers andýinterviews, we will learn about and compare theýcivil rights and human rights movements in theýUnited States over the last 240 years. ýýIn this class we will cover the meaning of CivilýRights and Human Rights and how these developedýover the history of the United States. We willýlook at the situation for individuals and groupsýthat gave rise to the Civil Rightsýmovements in the United States for AfricanýAmericans, Women, LBGTýcommunity, Native Americans, Latinos/Chicanos,ýImmigrant Groups, Prisoners and Disabled Childrenýand Adults. We will analyze how these groupsýbecame aware of themselves as an interest group,ýwhat their goals and strategies were andýpresently are; who were their leaders and otherýallies; what were their challenges and successes.ý We will look at the events, actions, arts andýexpression of these movements as expressed byýmembers of the movement as well as the dominantýculture by reading primary sources, hearingýmusic, reading poetry and watching many movies.

Course number: HSOC-331
Prerequisite: n/a

This class introduces students to the field ofýhumanistic ecology - a discipline that looks toýhistorical, cultural, political, legal, policy,ýand economic elements to better understand theýrole of ecology in a larger sphere outside of (butýoccasionally inside of) its scientific structureýand uses. The class will include a substantialýhistorical perspective. Everything has a history,ýincluding ecology, that runs right up to theýpresent day, and looking at how our relationshipsýwith the natural world have changed over time isýan essential way to understand the world.ýHumanistic ecology is designed to provide contextýfor the study of ecology, and in a fundamentalýway, focuses on the appropriate role of humanýbeings in its relationship to nature: what isýethical, or not, what is useful, or not, and aývariety of other matters that should be consideredýwhen taking a fully three-dimensional view ofýecological science.

Course number: HHIS-299B
Prerequisite: n/a

Course number: HHUM-TRNSFR
Prerequisite: n/a

Course number: HHUM-TXAC
Prerequisite: n/a

Course number: HHUM-TXCW
Prerequisite: n/a

Course number: HHUM-TXFILM
Prerequisite: n/a

Course number: HHUM-TXLIT
Prerequisite: n/a

Humans have always been on the move, quickly orýslowly, near or far, in the air, under water, onýland, and in space, and for a million differentýreasons. This course will emphasize the ways inýwhich different modes of transportation have comeýinto being, how they have influenced the humanýcondition over the centuries, and how our desiresýto get from one place to another have shaped andýaltered our historical and current conceptions ofýtime and space. We will cover, but not be limitedýto, airplanes, automobiles, balloons, boats,ýwalking, and extraplanetary travel.

Course number: HHIS-283
Prerequisite: n/a

This course will provide you with a solidýunderstanding of customer behaviors, and how toýinfluence those behaviors by examining a wideýrange of customer insights and market drivingýstrategies.

Course number: HSAP-812A
Prerequisite: n/a

An intensive bootcamp that will have designers andýMBA students working together to create viableýconcepts for improving INSEADs sustainableýfootprint. This course is based on the UN'sýSustainable Development Goals (SDG). Designersýwill have the opportunity to gain insights intoýthe challenges of implementing meaningful changeýin a challenging landscape. They will work onýprojects that are chosen by the teams and willýwork with a process developed by the instructor.

Course number: HSAP-812B
Prerequisite: n/a

This course will look at the development andýpromise of new business models in support of theýtriple bottom line (People, Planet and Profit) Itýwill provide you with an overview of theýopportunities for designer to work closely withýother disciplines to create and support businessýmodels that will be more sustainable.

Course number: HSAP-812C
Prerequisite: n/a

Law and Business for Artists and Designers coversýa full range of legal and business issues,ýincluding the language used in contracts thatýaffects the license, sale, and creation ofýdesigns and other original works of art andýdesign. This course will cover: the basics ofýcopyright law, fair use and copyright defenses,ýtrademark law and registration, maintainingýtrademark rights and avoiding infringements, andýpatent law. We learn how to file a copyrightýapplication; searching the availability of aýtrademark and filing a trademark application; howýto get a business license, form a corporation,ýprepare a deal memo, and negotiate a contract;ýand how to negotiate the resolution of a dispute,ýa new job position, and a promotion.

Course number: HPRO-300
Prerequisite: n/a

Online Synchronous Course:ýýStudents will use their personal computers toýconnect to their instructor and peers using theýDotED Learning Management System and the ZOOMýweb-conferencing technology. Weekly courseýsessions will be taught live online by yourýinstructor at the date and time scheduled.ýAttendance will be taken at the start of eachývideo session, and the instructor's classýattendance policy is in effect. Studentýparticipation on the video platform is required,ýand all students must have access to a personalýcomputer, a reliable internet connection, and aýreliable microphone and camera for participation.ý(Classes may be recorded for student reference andýrecordings are accessible only to those studentsýenrolled in the course.)ýýLaw and Business for Artists and Designers coversýa full range of legal and business issues,ýincluding the language used in contracts thatýaffects the license, sale, and creation ofýdesigns and other original works of art andýdesign. This course will cover: the basics ofýcopyright law, fair use and copyright defenses,ýtrademark law and registration, maintainingýtrademark rights and avoiding infringements, andýpatent law. We learn how to file a copyrightýapplication; searching the availability of aýtrademark and filing a trademark application; howýto get a business license, form a corporation,ýprepare a deal memo, and negotiate a contract;ýand how to negotiate the resolution of a dispute,ýa new job position, and a promotion.

Course number: HPRO-300OS
Prerequisite: n/a

This course introduces students to numerousýaspects of illumination, from the practical toýthe conceptual, from the creative to theýtechnological. We will survey the history,ýtechnology, and design of lighting through bothýresearch and hands-on experimentation. Fieldýtrips, lectures, readings, and guestýpresentations will cover topics including:ýoptics, basic circuits, and electrical wiring;ýtechnologies such as LEDs, fiber-optics, CCFLs,ýEL and neon; lighting in space, and of sculptureýand products; history and theory of color;ýartificial illumination and day lighting; theýaffect of light on neurology and psychology;ýretail, commercial, and residential lightingýstrategies.

Course number: HSCI-203
Prerequisite: n/a

A photograph is one of many materials that canýhold an image. Images can exist as text, sound,ýimagination, frequencies and more. The way weýprocess and store images has a great deal ofýinfluence on our physiological beings, shiftingýthe way we interface with the worlds around andýwithin us. How does it inform our practice when weýconsider the anticipated ontology of the imagesýimbued within our work and the way they shape ourýworlds? What do our current worlds consist of andýwhat are the realities we aspire toward?ý ýAfter contextualizing ourselves in ourýcontemporary environment, we will learn how toýlocate, identify and place information, withýconstructive intentions, in our own works.ý ýThe semester will include various learning models,ýincluded but not limited to lectures, field trips,ýcollaborative exercises, and critique. Studentsýwill be asked to propose an image based projectýthat thematically relates to the course. ýAt the end of this course, students willýunderstand how to employ these techniques withinýtheir own practices and begin to anticipate theýway their making will materialize in the world andýbe intentional about the world they're building.

Course number: HCRT-252
Prerequisite: n/a

This course is an exploration of the use of newýand emergent technologies in the generationýand execution of a creative design process.ýStudents will be introduced to a range of digitalýtools with both physical and virtual implications,ýand use these tools to innovate, iterate andýdevelop solutions to discrete problems. Thisýcourse (following Creative Technologies 360)ýbuildsýon a basic technology base in order to furtherýdevelop selected technologies in application toýspecific design objectives. Course will includeýphysical computing, physical/digital making, andýdesign experiences including VR, AR and MR.ýStudents will test and validate concepts usingýprototypes of proposed solutions.The course willýbe structured by two to three in-depthýassignments that investigate both technology andýprocess, culminating in a final project.ýCourse Learning Outcomes:ý1. Learn to learn: Students will explore a rangeýof creative and design methodologies andýlearn how to apply them to projects in a relevantýmanner.ý2. Physical Computing: Students will be able toýdevelop and demonstrate familiarity withýdigital electronics through experimentation withýinteractive prototyping platforms.ý3. Physical Computing: Develop and demonstrateýfamiliarity with coding through digitalýprototyping exercises.ý4. Physical/Digital Making: Students will be ableýto design for the spatial sense, consideringýhow humans perceive, move through and remember theývirtual and physical worldýaround them.ý5. Physical/Digital Making: Design experiencesý(for example: VR, AR or MR etc),ýinteractions,products, projects using emergingýtools, technologies and processes.

Course number: HSCI-110
Prerequisite: n/a

American Literature as we now know it was in itsývery beginnings composed largely of the voices ofýpeople who arrived to this continent fromýsomewhere else, as a political and economicýrefugees, religious pilgrims or captive slaves. ýToday, American Literature is still enriched byýthe voice of The Immigrant and/or The FirstýGeneration American, each of whom navigateýgeographies and cultural systems sometimesýparallel to "native-born" Americans or in theýshadows as invisibles/undesirables. Often, theirýstories reveal truths about the culture in whichýthey arrive, and provide opportunities forýthoughtful discussion about context,ýstory-telling and the current state of the "newýAmericans."ýýWe will read novels and a memoir published in theýlast twenty years, as well as other selectiveýreadings from current events to inform ourýdiscussion and writing projects.

Course number: HNAR-210
Prerequisite: n/a

Thinking of starting a design driven business?ýWhat are the costs and opportunities of a nicheýmarket versus a mass-market product? How doýfactories think? How do engineers and developmentýpeople think? How do marketing and sales peopleýthink? How do finance people think? How doýinvestors and marketing partners think?ýInterested in cautionary tales and successýstories from design entrepreneurs? This courseýfocuses on the real world, daily experience ofýrunning a design driven business.

Course number: HENT-211
Prerequisite: n/a

Course number: HWRI-495
Prerequisite: n/a

Course number: HHUM-495
Prerequisite: n/a

Course number: HHUM-395
Prerequisite: n/a

Course number: HBPP-495
Prerequisite: n/a

Course number: HBPP-395
Prerequisite: n/a

Course number: HHIS-975
Prerequisite: n/a

Course number: HHIS-495
Prerequisite: n/a

Course number: HSCI-395
Prerequisite: n/a

Course number: HSCI-490
Prerequisite: n/a

Course number: HSCI-495
Prerequisite: n/a

Course number: HSOC-495
Prerequisite: n/a

Course number: HSOC-395
Prerequisite: n/a

This course examines the development ofýarchitecture and urbanism in Latin America withinýa context of significant social, political, andýcultural transition. We will depart from the lateýnineteenth-century, a period of independence and aýsearch for self-identity, and gradually move toýthe late-twentieth century. We will pay closeýattention to the dynamic relation of the tensionýin the shifts from colonialism to modernization ofýLatin America, particularly architecture's uniqueýrole at the intersection of politics, art, andýeconomics. Topics will include positivism,ýfunctionalism, nationalism, indigenism,ýinternationalism, tropicalism, utopianism,ýBrasilia, Buenos Aires, and Habana, and theýuniversity cities of Caracas and Mexico City.

Course number: HHIS-293B
Prerequisite: n/a

The goal of the ABI program is to teach studentsýa framework for developing medical deviceýinnovations that address unmet clinical needs andýopportunities and to prepare students for careersýin healthcare, product development, andýentrepreneurship. The course consists of aýseries of weekly lectures from industry expertsýwhich are intended to complement practicalýexperience that students gain through anýinterdisciplinary team-based project. The courseýis a 2 term course held at the UCLA AndersonýSchool of Business in Westwood, CA. The course isýhosted by the California nanoSystems Instituteý(CNSI), the incubator wing of UCLA's scienceýdepartments.ý ýDuring the Spring Term, the project teams selectýan unmet clinical need identified within the UCLAýHealth System, and teams are tasked withýbrainstorming and developing concepts to solveýthese medical needs. Lectures include invitedýguest speakers and panels composed of UCLAýfaculty as well as industry representatives fromýventure capital, medical device, design and lawýfirms. Students develop design concepts,ýengineering approaches and business models forýlaunch success.ý ýThe Summer Term of the course focuses on conceptýrefinement, prototyping, provisional patentýsubmission, and building a business plan andýinvestor pitch deck. Additionally, this quarterýeach project team is assigned an industry mentorýto provide guidance on the product developmentýprocess and entrepreneurship as it relates toýmedical devices. The culmination of the course isýthe completion of a business plan and pitch byýeach project team, which will be presented to aýpanel of venture capitalists at the end ofýquarter.

Course number: HSOC-458
Prerequisite: n/a

As design assumes an increasingly strategic roleýin both for-profit and non-profit domains,ýdesigners must expand their ability to thinkýcontextually about people, organizations, markets,ýbrands, and publics they're designing for. Thisýcourse teaches students how to become insightfulýabout the world by honing their research andýanalysis skills to translate information intoýstrategic opportunities for design. Insightsýintroduces various approaches to trend research inýthe socio-cultural, technological, and designýspheres and explores how designers can utilizeýtrends to inform their creative work. Insights wasýoriginally built around industry practice informedýby corporations like Nokia, Nike, Target, andýApple that have dedicated "Design Insights" teams.ýIt continues to be informed by the methods andýpractices of researchers who specialize inýproviding credible, strategic insights to theirýclients.

Course number: HSOC-205
Prerequisite: n/a

"Insights" is a co-requisite of the sixth-termýtransportation design studio. This class guidesýdesigners in the creation of innovative vehicleýconcepts based on a strong foundation ofýresearch. Designers learn how to createýcompelling conceptual frameworks, driven byýunique insights and articulated in a thoughtful,ýmeaningful context. Since this class responds toýa new sponsor brief each term, our focus isýcustomized for each project, but our processýremains constant. We employ a range of designýresearch methodologies (primary and secondary)ýincluding observation, photo-documentation,ýethnography, interviews, and trend tracking andýforecasting. We keep the human story at theýcenter of what we do, while considering broaderýtrends that impact culture. Our work is closelyýcoordinated and integrated with the designýcurriculum in the sixth-term studio class.

Course number: HSOC-285
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-L107A
Prerequisite: n/a

Course number: HHUM-490
Prerequisite: n/a

This intensive lab-structured course willýstrengthen your understanding ofýinterdisciplinary collaboration. Museumýenvironments will be used as the focal point andýmain context for examining how multidisciplinaryýteams work together to develop a wide variety ofýcontemporary exhibitions. In the classroom, youýwill learn collaboration skills via experientialýexercises within ever evolving group scenariosýthroughout the term that will be complemented byýa range of academic readings. Field trips toýlocal museums to meet with the creators of sixýcurrent exhibits will breakdown the collaborativeýinterplay between design and curation. Studentsýwill be required to coordinate their ownýtransportation for the field trips and pay anyýnecessary museum admission fees.

Course number: HPRO-333
Prerequisite: n/a

In this class, we'll explore the different, butýequally influential plays and theatricalý visions of Anton Chekhov (1860 - 1904) andýBertolt Brecht (1898 - 1956). Bothý writers saw actors as central to theatricalýexperience. Chekhov worked alongsideý Konstanti Stanislavski, whose Method actingýtechnique favored naturalism, ý empathy and intimacy above 19th centuryýtheatrics, while Brecht devised his ý own theory of "alienation," encouraging actorsýto present their characters to theý audience for critical inspection. Writing inýpre-revolutionary Russian, Chekhov ý tenderly exposed the conflicts of interestýbetween the old feudal order and Russia'sý new middle class. Writing throughout the riseýand reign of German fascism, Brecht ý investigated criminality, class struggle,ýrevolution and mass thought. The plays of bothý writers are models of ambiguity, leavingýreaders and viewers to decide for themselvesý what the best choices might be in a deeplyýconflicted world.

Course number: HNAR-376
Prerequisite: n/a

How do you want to live and move in the world?ýWhat values do you hold dear? Such things areýinfluenced by culture. This course provides anýoverview of sociocultural anthropology-the studyýof culture and how humans make sense and meaningýof their lives. Critically examine such topics asýfood, sexuality, and death from an anthropologicalýpoint of view. ýýExplore the ethics of research design and theýpolitics of representation as they might relate toýyour art. Gain hands-on experience withýethnographic research methods such as interviewsýand observations. Conduct your ownýmini-ethnography project with the guidance of yourýprofessor. ýýBy recognizing the ways in which humans shape theýworld, learning how our beliefs and practicesýemerge, and reflecting on ourselves, we can beginýto more consciously and intentionally shape ourýlives, identities, and the worlds in and aroundýus.

Course number: HSOC-113
Prerequisite: n/a

This course represents both an introduction to andýinterrogation of the many ways in which design hasýbeen talked about, understood, and practiced sinceýthe 19th century. Rather than presenting aýhistorical survey, this course will offer studentsýan opportunity to use discussion and writing toýdelve more deeply into key concepts and questionsýrelated to design practice within its broaderýsocial, political, and economic contexts. Thoughýthis course will necessarily engage globalýperspectives and themes, we will pay particularýattention to the past, present, and future ofýdesign in the United States in connection to thisýbroader global context. Key topics will include:ýcapitalism, labor, colonialism/decoloniality, raceýand racism, technology and discourses ofýinnovation, and representation. Assignments willýinclude brief weekly written responses to assignedýreadings, 3 short essays (2-3 pages each), and 2ýin-class presentations.

Course number: HSOC-104
Prerequisite: n/a

This course represents both an introduction to andýinterrogation of the many ways in which design hasýbeen talked about, understood, and practiced sinceýthe 19th century. Rather than presenting aýhistorical survey, this course will offer studentsýan opportunity to use discussion and writing toýdelve more deeply into key concepts and questionsýrelated to design practice within its broaderýsocial, political, and economic contexts. Thoughýthis course will necessarily engage globalýperspectives and themes, we will pay particularýattention to the past, present, and future ofýdesign in the United States in connection to thisýbroader global context. Key topics will include:ýcapitalism, labor, colonialism/decoloniality, raceýand racism, technology and discourses ofýinnovation, and representation. Assignments willýinclude brief weekly written responses to assignedýreadings, 3 short essays (2-3 pages each), and 2ýin-class presentations.

Course number: HHIS-101
Prerequisite: n/a

This course represents both an introduction to andýinterrogation of the many ways in which design hasýbeen talked about, understood, and practiced sinceýthe 19th century. Rather than presenting aýhistorical survey, this course will offer studentsýan opportunity to use discussion and writing toýdelve more deeply into key concepts and questionsýrelated to design practice within its broaderýsocial, political, and economic contexts. Thoughýthis course will necessarily engage globalýperspectives and themes, we will pay particularýattention to the past, present, and future ofýdesign in the United States in connection to thisýbroader global context. Key topics will include:ýcapitalism, labor, colonialism/decoloniality, raceýand racism, technology and discourses ofýinnovation, and representation. Assignments willýinclude brief weekly written responses to assignedýreadings, 3 short essays (2-3 pages each), and 2ýin-class presentations.

Course number: HCRT-101
Prerequisite: n/a

Introduction to Materials Science & EngineeringýýThis course will introduce students to theýfundamentals of materials science. In addition toýlearning about the four major classes of materialsý(metals, ceramics, polymers, and composites),ýstudents will get an overview of the major topicsýaccompanying materials, including bonding, crystalýsystems, materials defects and failure,ýthermodynamics, diffusion, and phase diagrams.ýFinally, students will be introduced to the majorýfunctional properties of materials, includingýmechanical, thermal, optical, electrical,ýmagnetic, and acoustic properties. Students willýalso learn the standard methods of testing forýeach type of property.ýýProficiency in algebra and geometry are required. ýBasic chemistry, trigonometry and calculus areýhelpful but not required.

Course number: HSCI-209
Prerequisite: n/a

This online course will introduce students to theýfundamentals of materials science through aýcombination of lectures, in-class problem solving,ýand at-home materials exploration. In addition toýlearning about the four major classes of materialsý(metals, ceramics, polymers, and composites),ýstudents will get an overview of the major topicsýaccompanying materials, including bonding, crystalýsystems, materials defects and failure,ýthermodynamics, diffusion, and phase diagrams.ýFinally, students will be introduced to the majorýfunctional properties of materials, includingýmechanical, thermal, optical, electrical,ýmagnetic, and acoustic properties. Students willýalso learn the standard methods of testing forýeach type of property. Basic proficiency inýalgebra and geometry are required. Basicýchemistry, trigonometry and calculus are helpful,ýbut not required.

Course number: HSCI-106
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-013
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-007
Prerequisite: n/a

This introduction to psychology focuses on theýstructure and experience of the self. We mayýpicture ourselves in contrast to others, such asýwhen we experience ourselves as less extrovertýthan our friend. Or we find ourselves overweightýrelative to that model. This is how we imagineýourselves. We have many self images: a body image,ýan image of our personality, a professional selfýimage, and so on. We spend much time worryingýabout how to imagine ourselves, and whether ourýself images are 'normal'. In this class willýsurvey the psychological research on the self andýthe problems of the self. The course will coverýtopics such as memory and emotion, identity,ýoverthinking, imposter syndrome and body image. Aýcentral topic in all of this is the notion that weýimagine ourselves, for better or for worse. Weýwill explore this through lectures and discussion,ýas well as weekly creative exercises where youýwill be asked to imagine alternative selves. Thisýclass will help you to express yourself and toýreach your audience in a more nuanced way.

Course number: HSOC-130
Prerequisite: n/a

This introduction to psychology focuses on theýstructure and experience of the self. We mayýpicture ourselves in contrast to others, such asýwhen we experience ourselves as less extrovertýthan our friend. Or we find ourselves overweightýrelative to that model. This is how we imagineýourselves. We have many self images: a body image,ýan image of our personality, a professional selfýimage, and so on. We spend much time worryingýabout how to imagine ourselves, and whether ourýself images are 'normal'. In this class willýsurvey the psychological research on the self andýthe problems of the self. The course will coverýtopics such as memory and emotion, identity,ýoverthinking, imposter syndrome and body image. Aýcentral topic in all of this is the notion that weýimagine ourselves, for better or for worse. Weýwill explore this through lectures and discussion,ýas well as weekly creative exercises where youýwill be asked to imagine alternative selves. Thisýclass will help you to express yourself and toýreach your audience in a more nuanced way.

Course number: HSCI-130
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-CS2
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-CS1
Prerequisite: n/a

Introduction to EntrepreneurshipýýThinking of starting a design driven business? Inýthis course students will gain an understanding ofýhow to launch a start-up venture and how to createýentrepreneurial ventures from self-initiatedýprojects. They will learn how artwork, design andýproducts are developed from the entrepreneurialýstandpoint including how a design varies based onýthe business context. Students will create a newýcompany and will develop a start-up strategy andýuse the Business Canvas Model as a foundation toýevaluate the feasibility of the company (ies).ýProducts can be two-dimensional graphics orýillustrations applied to existing productýcategories, new stylistic designs, entertainmentýor media properties, on-line solutions, productýdesign, brand concepts or technical inventions.ýThis course focuses on the real world, dailyýexperience of running a design driven business.

Course number: HENT-100
Prerequisite: n/a

Online Synchronous Course:ý ýStudents will use their personal computers toýconnect to their instructor and peers using theýDotED Learning Management System and the ZOOMýweb-conferencing technology. Weekly courseýsessions will be taught live online by yourýinstructor at the date and time scheduled.ýAttendance will be taken at the start of eachývideo session, and the instructor's classýattendance policy is in effect. Studentýparticipation on the video platform is required,ýand all students must have access to a personalýcomputer, a reliable internet connection, and aýreliable microphone and camera for participation.ý(Classes may be recorded for student reference andýrecordings are accessible only to those studentsýenrolled in the course.)ýýIntroduction to EntrepreneurshipýýThinking of starting a design driven business? Inýthis course students will gain an understanding ofýhow to launch a start-up venture and how to createýentrepreneurial ventures from self-initiatedýprojects. They will learn how artwork, design andýproducts are developed from the entrepreneurialýstandpoint including how a design varies based onýthe business context. Students will create a newýcompany and will develop a start-up strategy andýuse the Business Canvas Model as a foundation toýevaluate the feasibility of the company (ies).ýProducts can be two-dimensional graphics orýillustrations applied to existing productýcategories, new stylistic designs, entertainmentýor media properties, on-line solutions, productýdesign, brand concepts or technical inventions.ýThis course focuses on the real world, dailyýexperience of running a design driven business.

Course number: HENT-100OS
Prerequisite: n/a

Introduction to Materials for Industrial DesignýýUsing an industrial design framework, the studentýwill survey materials, methods of processingýthem, and sources of material innovation towardývisualizing a designed experience of materiality.ýSurveyed materials will include ceramics,ýcomposites, glass, metals, polymers, textiles,ýand wood. Students will learn material taxonomyýand research material trends toward designing anýexperience defined by materiality.

Course number: HSCI-208
Prerequisite: n/a

The class will explore, discuss, analyze, andýcompare various aspects of modernist cultureýincluding the visual arts, design andýarchitecture, film, the performing arts, music,ýliterature, and science and technology, andýprovide a historical perspective and criticalýinsight into the political, social, andýphilosophical dynamics of the era, and itsýrelevance to our current time.

Course number: HHIS-110
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-PL12
Prerequisite: n/a

Introduction to PsychologyýýPsychology is the scientific study of behaviorýand mental processes, in humans and otherýspecies. This course will provide a generalýintroduction to the primary subject matter areasýof psychology including lifespan development,ýemotion, social processes, personality,ýpsychopathology, the brain, stress and stressýresponse systems, learning, perception, as wellýas exploration of the creative process andýdiscussion of course content as it relatesýspecifically to that process.

Course number: HSOC-221
Prerequisite: n/a

This course will introduce students to theýpractice of research-an organized attention to theýworld around us-in academic, design, and artisticýcontexts. Our conversations will consider howýpractitioners in a range of scholarly and creativeýfields articulate original research questions;ýidentify relevant sources; and employ a range ofýmethods to gather and analyze data. The courseýwill include introductions to the history ofýresearch and evolving understandings ofýobjectivity and observation; archival,ýethnographic, quantitative, and other methods; asýwell as research ethics and anti-racist/decolonialýapproaches. For their final project, students willýdevelop a research proposal outlining a futureýproject relevant to their interests.

Course number: HSOC-103
Prerequisite: n/a

Introduction to Robotics offers you theýopportunity to explore the increasing role ofýautomated mechanisms in our world and learn whatýit takes to build your own robots. This course isýpart survey, part technical application. Hands-onýrobot designing and building figures strongly asýwe encounter topics through team "designýchallenges," in which we see what makes up aýrobot and investigate ways to control them to doýwhat we want.

Course number: HSCI-231
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-ME008
Prerequisite: n/a

Space travel has become an essential technologyýarea for humanity and is inextricably linked toýour shared future. Human technology now extendsýacross the whole of the Solar System and beyond.ýWe are now, more than ever, a spacefaring speciesý- teaching, learning, and sharing our joinedýefforts and interests in this arena has never beenýmore vital. The essential dialogue of space travelýspans a vast encyclopedia of terms and topics, notýlimited to: technological, demographic,ýsociological, emotional, financial, historical,ýpolitical. The scope of our understanding,ýtherefore, must encompass a true interplanetaryýperspective, including a grasp of how we come toýterms with our own personal roles in the humanýexpansion into space.ýýThis course provides an up-to-the-minute survey ofýthe current state of humanity's technologicalýsteps into space, broadly presented from aýconceptual and experiential point of view. It isýintended for students who anticipate a role in theýrapidly expanding industry of space exploration asýwell as for those who seek a basic understandingýof the history, technology, and future of spaceýtravel. The course material will cover elements ofýhistory, science, mathematics, engineering, art,ýand literature, and invite discussion of currentýdevelopments and controversies that face ourýfuture in space.

Course number: HSCI-219
Prerequisite: n/a

Introduction to Urban Studies is a courseýdesigned to address many key issues of urbanýlife, both past and present. Starting with aýgeneral understanding of cities as collections ofýspaces and places shaped by human activity, theýcourse will explore the varied forces determiningýthe proliferation, expansion, and even decline ofýthe urban form. Are the cities of the 21stýcentury the cure or the cause of the manyýchallenges facing us in the world today? How haveýpeople studied cities and how might we study themýnow? These questions and many others will emergeýover the course's duration. Students will useýthis course to make the connections betweenýtopics often discussed separately, like housing,ýtransportation, and urban politics. In addition,ýIntroduction to Urban Studies will shine aýspotlight on the modern city in the globalýcontext by linking the urban to processes ofýmigration, investment, and environmental impact.

Course number: HSOC-271
Prerequisite: n/a

This class will center around writing thatýengages, explores and even cannibalizes an artworkýor personage as part of a larger discursiveýjourney . Call it criticism, fan-fiction orýpsychobiography, the writings we'll look toýinvolve attempts to penetrate and even merge withýtheir subjects. We'll read texts by JarrettýKobek, Fred Moten, Jill Johnston, Cecilia Pavon,ýRene Ricard, Charles Bowden and others, and writeýunder their influence. Mos sessions will involveýsome in-class writing. One final project, betweený10-12 pages long, will be required. The finalýproject can be something new begun during theýlass, or it can be a continuation of work alreadyýin progress. The class will read two shortýnovels: The End of a Primitive by Chester Himes,ýand Towards Another Summer by Janet Frame. Pleaseýget copies of these. All other readings will beýprovided.

Course number: HNAR-324
Prerequisite: n/a

How should we gauge the impact of the Internet onýcontemporary art? Does the advent of Web-basedýimage aggregators and curatorial platforms (e.g.ýPinterest, Contemporary Art Daily,ýthejogging.tumblr.com, #ArtSelfie) spell doom forýthe art profession, or at least, for itsýtraditional institutions and markets? Or, toýadopt a more optimistic perspective, have theýdatabases, online archives, and retail networksýof Web 2.0 revitalized the methods and materialsýavailable to contemporary artists, enablingýuniversal access to supply chains and data flows?ýIn this class, we will seek to understand theýpractical challenges posed to artists (and alsoýcritics, curators, spectators) by the omnipresentýWeb; we will also consider the "post-internet"ýcondition in terms of the larger historicalýtrajectory of modernism and its antecedents.

Course number: HCRT-365
Prerequisite: n/a

How should we gauge the impact of the Internet onýcontemporary art? Does the advent of Web-basedýimage aggregators and curatorial platforms (e.g.ýPinterest, Contemporary Art Daily,ýthejogging.tumblr.com, #ArtSelfie) spell doom forýthe art profession, or at least, for itsýtraditional institutions and markets? Or, toýadopt a more optimistic perspective, have theýdatabases, online archives, and retail networksýof Web 2.0 revitalized the methods and materialsýavailable to contemporary artists, enablingýuniversal access to supply chains and data flows?ýIn this class, we will seek to understand theýpractical challenges posed to artists (and alsoýcritics, curators, spectators) by the omnipresentýWeb; we will also consider the "post-internet"ýcondition in terms of the larger historicalýtrajectory of modernism and its antecedents.

Course number: HSOC-365
Prerequisite: n/a

This is a conversation-based Italian course,ýdesigned to provide someone with little or noýknowledge of Italian the basics of conversationýand grammar upon which to build. ýýFor those planning on participating in the ItalyýStudy Away program in the summer, the course willýestablish a useful primer for the daily Italianýclass in Modena, and will include some essentialsýof "survival Italian," to make ordering food andýasking directions easier. ýýClass is open to all students.ýýBenvenuti!

Course number: HHUM-103
Prerequisite: n/a

Arguably one of the most important andýinfluential works of fiction of the 150 years,ýJames Joyce's 'Ulysses' is also famouslyýdifficult to read. At least that's itsýreputation. This course is designed to be aýguided tour through the novel's 18 shiftingýchapters, in order to unlock its humor, inventionýand humanity, and to help dispel its mystery. ýý'Ulysses' takes place on a single day (June 16,ý1904) in the life of literature's great antihero,ýLeopold Bloom. Along the way of an almost hourlyýchronicle, the pages take readers through theýinner thoughts of principle and minor characters,ýparodies of literary styles, critiques ofýimperialism, racism, and popular culture andýhighbrow culture. It does this while alsoýmimicking the structure of Homer's 'Odyssey',ýshifting the styles of chapters and complicatingýthe nature of authorship and narrative authority.ýýJoyce's biographer Richard Ellmann wrote that,ýwhether we read 'Ulysses' or not, we've beenýinfluenced by it. This course presents theýopportunity to see what Ellmann means.

Course number: HNAR-303
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-PL041
Prerequisite: n/a

LAUNCH PREP, open to all ArtCenter Majors, is aýmid-degree class for aspiring entrepreneurs,ýintrapreneurs, investors, inventors, makers,ýfounders and strategists. This course will alignýyour core prototyping skills, startup developmentýtools and business expertise, helping you build aýrepeatable formula to validate and launch newýbusinesses and ventures. Existing concepts andýprojects are welcome but not required in thisýteam-based, interdisciplinary experience. Topicsýcovered include: tactical research, in-personýinterviews, customer discovery, market analysis,ýfinancial strategy, intellectual property andýscale with a materials and supplies stipend toýcover expenses.* This class will help you build aýpractical plan with key milestones to grow yourýstartup or business goals during your remainingýterms at ArtCenter.ýý*Stipends of up to $1,500 available per team toýcover materials and supplies for prototyping. ýApplication required. Prerequisites: oneýintro/studio entrepreneurship or business class. ýFinal projects must be scalable and focused onýsocial impact.

Course number: HENT-400
Prerequisite: n/a

This course in human athletic biomechanics isýtaught by the team at BioMechanica LLCý(biomechanica.com). Led by principals MartynýShorten Ph.D. and Simon Luthi Ph.D., student teamsýwill learn about the human mechanical attributesýof sport and apply them to projects that reimagineýfootwear and digital documentation throughýteam-generated individual projects.

Course number: HSAP-813B
Prerequisite: n/a

This course is an intensive exploration of theýathletic industry business model and the ongoingýdigital influences challenging the paradigm. ýStudent teams will analyze how products areýdeveloped, transported, marketed and sold byýcreating branded, team-generated individualýprojects and digitally driven business models.

Course number: HSAP-813A
Prerequisite: n/a

Course number: SAP-857E
Prerequisite: n/a

Course number: SAP-857F
Prerequisite: n/a

OPPORTUNITY: Envision Charity Shop SystemýEnvision a system of thrift shops to supportýpediatric burn treatment. Nonprofit charity shopsýare a new phenomenon in Chile, and have a hugeýpotential to raise funds to support freeýtreatment, while building a community of sociallyýengaged volunteers. Interdisciplinary studentýteams will propose real world solutions:ý. Retail: charity shop spatial design / furnitureý& lighting / pop-up shopsý. Branding & Marketing: promotion for customers,ýdonors, volunteersý. Systems & Strategy: supply chain for donationsý/ online storeýýMISSION: Free Pediatric Burn Treatment Partnerýwith COANIQUEM, a leading nonprofit that providesýfree holistic treatment to children across LatinýAmerica who have survived severe burns.ýýFIELD RESEARCH: 2 Weeks, Santiago, Chile Travelýto COANIQUEM's pediatric burn center in Santiago,ýChile, to understand their mission & researchýopportunities for charity retail

Course number: HSOC-805A
Prerequisite: n/a

TestlabBerlin is a sponsored studio abroadýproject. One core faculty member will run theýproject for the entire semester, additionallyýthere will be guest faculty/lecturers/guestýcritics in Berlin.ýýAvailable to fifth term and above students byýapplication.ýýStudents will experiment with new creativeýstrategies for art & design production which willýbe informed by real-time response from a chosenýaudience. This feedback process will be enabledýboth through social media (Socialtecture) andýthrough in-person interaction with the audience.ýThe resulting projects are cross-cultural inýnature and dramatically broaden the creativeýhorizon of all participants.

Course number: HSOC-801A
Prerequisite: n/a

TestlabBerlin is a sponsored studio abroadýproject. One core faculty member will run theýproject for the entire semester, additionallyýthere will be guest faculty/lecturers/guestýcritics in Berlin.ýýAvailable to fifth term and above students byýapplication.ýýStudents will experiment with new creativeýstrategies for art & design production which willýbe informed by real-time response from a chosenýaudience. This feedback process will be enabledýboth through social media (Socialtecture) andýthrough in-person interaction with the audience.ýThe resulting projects are cross-cultural inýnature and dramatically broaden the creativeýhorizon of all participants.

Course number: HSOC-801B
Prerequisite: n/a

TestlabBerlin is a sponsored studio abroadýproject. One core faculty member will run theýproject for the entire semester, additionallyýthere will be guest faculty/lecturers/guestýcritics in Berlin.ýýAvailable to fifth term and above students byýapplication.ýýReal-life design challenge in a studio setting.ýýProject is funded by Art Center and supplementedýby a consortium of outside partners.

Course number: SAP-828D
Prerequisite: n/a

This design studio course will engage the on-goingýprocess of visioning and city-making ahead of theý2028 Olympic Games. Students will developýprojects that might enhance urban life for theýgreatest number of Angelenos long after the 2028ýOlympic torch is extinguished. Such projectsýmight address transportation needs, housing,ýleisure and public spaces, education, labor andýmatters of inequality. ýýThis course is eligible for the DesignmattersýMinor in Social Innovation

Course number: TDS-415A
Prerequisite: n/a