Spring 2014 - Course Description

Spring 2014 - Course Description LANT Anthropology LANT 2028 Love and Money: Intimate Transactions Faculty: Halawa. Mateusz TR 11:55 AM - 01:35 PM Credits: 4 CRN 6981 Sec A The intimate and the economic are often imagined as two separate, or even hostile. spheres of social life. If mixed, conventional wisdom holds, love and money will corrupt each other sentiments will get in the way of business, and calculation will poison passion. Our very ideals of intimacy and economic activity both rely on constantly drawing boundaries between the two. However, ethnographic evidence gathered by anthropologists and sociologists suggests that in the practice of everyday life, love and money intermingle constantly in the practices of of individuals. couples, and households and often with good results. This course serves as an introduction to social and cultural analysis of money in everyday life by way of exploring a series of messy 'intimate transactions? How does money circulate between spouses, friends, lovers, relatives, parents and children? What pleasures and profits. divisions and attachments do these exchanges produce? The course explores, among other themes: compensated and uncompensated household labor, inheritance, informal loans, remittances from those overseas, college funds. and allowance. We will discuss and debate the relationship between love and money based on anthropologcal, sociological, legal. journalistic, and literary readings. This course satisfies requirements in Writing. LAIR 2100 Postcolonial Africa Faculty: Reitman. Janet TR 10:00 AM - 11:40 AM Credits: 4 CRN 4993 Sec A Postosionial Africa is typically represented as a marginal place in the world: a place of disorder and war. How does anthropology help us to consider Africa's place in our world? Do anthropological accounts of postcolonial Africa confirm that it is a place of chaos and violence? Or does anthropology allow us to better understand how we came to think about Africa as prone to violence and marginality? This seminar will consider these questions. We will examine some of the key concepts and debates that are central to the anthropology of postcolonial Africa with an aim to developing a aitical perspective on representations of this vast continent and the diversity of practices that make Africa more than a continent. The seminar will take a thematic approach. covering topics such as kinship and ethnicity, religion and witchcraft. and economics and globalization. We will use both ethnographies and novels as the basis for discussion and debate. This course satisfies requirements In Reading and Writing. LAW 3013 Mies and Globalization Faculty: Rao, VyJayanthi F 12:10 PM 02:50 PM Credits: 4 CRN 7070 Sec AX For the first time in world history, more people live in urban rather than rural settlements. The scale, complexity and dynamism of contemporary urbanization and the tendency toward disorder or entropy in contemporary cites is historically unprecedented. This momentous and global transformation has great social, cultural, economic and political implications and numerous causes. In this seminar course, we will examine the specific relationship between the contemporary urban revolution and globalization or the recent post-cold war integration of economic and political institutions at the global scale and we will explore their implications for our collective future. The seminar is structured around core topics such as infrastructure and urban ecology, urban inequality and uneven development and the question of urban visions and futures. Case studies are drawn from across the world and we will use several channels of analysis, including documentary films and television broadcasts, the internet. reports prepared by multilateral organizations and think tanks and, finally, your own field researches in and around New York City. Ideas will be snared in class through interactive Journals and shared reports. Students must have taken at least one prior anthropology course at the 200 level. Office or the Dean 10/240/2013 LAM 3028 Human Rights & Humanitarianism In a Critical Perspective Faculty: Ticktin. Miriam TR 01:50 PM 03:30 PM Credits: 4 CRN 6398 Sec A 'This course introduces the principles and practices of human rights and humanitarianism in interdisciplinary perspective. We will inquire into the notions of "'humanity" imagined and protected by each of these. as well as how each are bounded by national and colonial histories. The readings will help students explore how these hegemonic discourses and practices are culturally contextualited and mediated: arid while trying to understand how claims of resistance and struggle are being re-articulated in legal languages of nghts and entitlements and/or in a moral language of humanitarianism, we will pay particular attention to how these claims often have unintended consequences. Using gender, race and class as focal points. we will think about •who• benefits from these discourses and practices and what alternatives we may have. This course satisfies requirements in Reading and Writing? LAM 3035 Workshop in Ethnography Faculty: Raffles. Hugh M 12:10 PM - 02:50 PM Credits: 3 CRN 6800 Sec A This course introduces students to some of the basic techniques of Anthropology as a fieldwork- based discipline. Students will develop and undertake a series of individual and collaborative fieldwork exercises that they wilt workshop into written ethnography. developing the basic skills used by professional anthropologists. Readings will focus on both practical and ethical issues connected to standard field methodologies. Reading Ethnography, an equivalent Anthro course, or permission of the instructor Is required. This course satisfies requirements in Doing. LARS The Arts LARS 2030 Latin American Modem: 1920s-1960s Faculty: Cepero-Amador, MW 10:00 AM - 11:40AM Credits: 4 CRN 7175 Sec A This course examines the emergence and development of Latin American modemisms. The first wave, which unfolded from the 1920s to the 1940s in Brazil. Mexico and Cuba. witnessed the artists' combination of European avant-garde tendenciesfisuch as post-impressionism and Cubismfiwith local motifs in a quest to reflect a national Identity. The second wave pertains to the post-World War II rise of abstraction in South America. specifically. concrete abstraction in Argentina and Brazil. and op and kinetic art in Venezuela. Artistic modernisms In the region will be studied in connection with the political and cultural context. specifically. the process of nation- state building the rise of populist ideologies, and the incidence of developmentalism in the Southern Cone during the 1950s and 1960s. We will analyze a range of artists. such as Tarsila do Amaral, Candid() Portinarl, Diego Rivera, David Maio Sieueiros Frida Kahle. Wrf redo Lam, Cundo Bernick:. Mario Carreto, Pedro Figari group MAD-, Lygia Clark. Helio Oiticica. Carlos Cruz-Diez and .lese Rafael Soto. Topics might include: the strategies of modernity in Latin America, the new concept of 'invested utopia? the role of the avant-garde group manifestos. the post-colonial legacy. and the meaning of abstraction within a turbulent political milieu. We discuss crucial concepts that define cultural modernism in Latin America: among them, identity, indigenism, costumbrismo, transculturation, syncretism, hybridization, and race politics. As part of the course, we will visit the Latin American collection at MoMa and art galleries that specialize in Latin American art. Pagel°, 52 EFTA_R1_01971949 EFTA02677319 UM 2250 Practicing Curating Faculty: Lookofsky, Sarah F 12:10 PM - 02:50 PM Credits: 4 CRN 6173 Sec AX Practicing Curating will offer an in-depth introduction to curatorial practice, examining the art of exhibition making from a historical. cultural, theoretical, and pragmatic perspective. The course covers current and historical exhibitions along with curatorial and critical writing related to exhibition practices. Students will also gain hands-on experience in various aspects of mounting an exhibition, including planning, designing, installing, and archiving the show. The exhibition venue will be the Skybridge Art and Sound Space located on the third floor between the Lang and New School buildings. Students must be able to dedicate time outside of normal Class hours for excursions to museums, galleries. alternative art spaces, and other venues as an essential part of this course. LARS 3045 Postwar Art and Theory Faculty: Young, Benjamin MW 03:50 PM - 05:30 PM Credits: 4 CRN 7176 Sec A This course will survey major developments in mostly American and European visual art from the end of World War II to the present. At the start of the course, students will be introduced to the main artistic terms and problems set up by the 'high' modernism of abstract expressionism. We will then examine the challenges to modernism posed by pop art minimalism. photography and video. and performance and conceptual art in the 1960s and 19705. As the course proceeds. we will narrow our focus to track certain problems set up by these postmodern practices as they are developed by artists in the 1980s and 1990s. including: the photomechanical challenge to painting and the unique touch of the artist's hand: the unsettled objecthood of photography. performance, and text-based work: the tension between art and document or making and recording; authorship, identity (including gender, race, and sexuality), commodification, and appropriation: the shift from medium specificity to the expanded fields of the physical. environmental, social, and political context of the artwork and its maker. Students will conclude the course with a research paper based on a work currently on view in the city. Time permitting, class trips to relevant current exhibitions may be arranged; previous familiarity with the history of modem an is encouraged but not required. 00k. or the Dean LARS 3065 Art and Labor Faculty: Toon, Soyoung TR 10:00 AM 11:40 AM Credits: 4 CRN 7177 Sec A The course offers a history of modern and contemporary art through the framework of art and labor. the various relationships between art and labor, the changes in the conditions of artistic production as well as the transformations in the measure/value of artistic tabor. Students address artistic representations of work as well as different figurations of the artist as worker. as nonworker, as out-of-work. If the Lumnine brothers' Workers Leaving the Factory (1895) Is the first film in the history of cinema, we will also ask what happens after the leaving of the factory: the time-space of reproduction and care, of work that is overlooked and undervalued (for example. women's work*); of the refusal to work, of strike, sabotage, or anti-work politics and post-work imaginanes: of the displacement of the factory and the assembly-ll ne as the primary mode of production. Students address how artists have worked with and against the effects of the restructurations of capital and social/technological transformations that have changed the very conditions of production, especially the supposed shift from a Fordist to post-Fordist economy: the blurring of the distinction between work and life. the Increasing Importance of what has been called immaterial, communicative. or affective labor. as well as the overall dismantling of the security and stability of work in general. As we analyze the transformations of the affective composition of labor. pointing to the current fear and anxiety of wearily. unemployment, debt. we will underscore labor not only as a matter of economics but also power and subjection: the subjective effects of labor, the timespace of the body in relation to labor, the working body. the reproductive body, the fatigued body, the body at rest, the idling or drifting body. the body on strike. This history of art will be studied alongside different histories and theories of labor. Seminar discussions will be supplemented with screenings. visits to galleries and museums. participation in artists' talks. LARS 3155 Methods of Art History and Visual Studies Faculty: Caplan, Lindsay TR 01:50 PM - 03:30 PM Credits: 4 CRN 5793 Sec A This is a challenging seminar in which students are introduced to the fundamental issue of methodology in art historical (and cultural) analysis. Through a highly selective series of texts, the course presents an introductory overview of some of the major literature and interpretive models that have been developed, contested, and in some cases overturned. throughout the history of art history. LCST Cultural Studies LCST 2028 Public Radio Culture Faculty: Montague, Sarah MW 03:50 PM 05:30 PM Credits: 4 CRN 7492 Sec A This course examines the history, influence, and unique broadcast culture of public radio, from its grass routes beginnings in the 1940s. to the creation of the hugely influential news programs Morning Edition and All Things Considered to the environment that has shaped and impelled to celebrity such figures as Garrison Keillor. Terry Gross. and Ira Glass. The broad spectrum of program and genres in the system will be examined, as will its place in the larger broadcasting culture. and its internal challenges and dilemmas. At once a voice for independent news and cultural coverage. with increasing weight in the national landscape, it has been plagued by internal dissension and an increasing reliance on corporate sponsorship and commercial models that may comprise the very values that set it apart. Attentive listening critical readings in media history, and essays-audio or written, are among the assignments and obligations of participating students. Papa of 62 EFTA_R1_01971950 EFTA02677320 LOST 2120 Introduction to Cultural Studies Faculty: Wane.. Kenneth TR 10:15 AM - 11:30 AM Credits: 3 CRN 5794 Sec A *Intro to Cultural Studies. (Tracks C & MJ This course examines the pivotal role of culture in the modern world, including the ideas, values. artifacts. and practices of people in their collective lives. Cultural Studies focuses on the importance of studying the material processes through which culture is constructed. It highlights process over product and rupture over continuity. In particular. it presents culture as a dynamic arena of social struggle and utopian possibility. Students read key thinkers and examine critical frameworks from a historical and a theoretical approach, such as Raymond Williams. Stuart Hall and the Birmingham School: the work on popular culture. identity politics, and postmodernism in America; and the emergence of a 'global cultural studies' in which transnational cultural flows are examined and assessed. Class sessions are set up as dialogic encounters between cultural theory and concrete analysis. (Tracks C & MI LCST 2122 Introduction to Screen Studies Faculty: Isenberg. Noah TR 10:15 AM • 11:30 AM Credits: 3 CRN 4707 Sec A *Introduction to Screen Studies• (Track SI The goal of this course is to deepen your appreciation of the history of cinema and to explore possible ways of thinking about films. By analyzing influential films from the cinematic canon. as well as theoretical approaches that have been brought to bear on that canon. we will explore the complex relationship between the moving image and critical thought. The course will survey/include the main historical periods and movements from film history 4 silent cinema. the classical Hollywood film. Italian Neo.realism, the French New Wave, and American Independent Cinema. The course will also cover some of the major film genres. key films from various national cinemas. and select auteurs from the history of cinema. (Track SI LCST 2450 Introduction to Media Studies Faculty: Scholz, Robert TR 12:00 PM • 01:15 PM Credits: 3 CRN 4035 Sec A *Introduction to Media Studies* [Track MI This course introduces the student to basic concepts and approaches in the critical analysis of communications media. Drawing on contemporary critiques and historical studies. It seeks to build an understanding of different forms of media. such as photography and cinema, television and video, the internet and hypermedia, in order to assess their role and impact in society. Since media are at once technology, art and entertainment. and business enterprises. they need to be studied from a variety of disciplinary perspectives. The readings for the course reflect this multi•pronged approach and draw attention to the work of key thinkers and theorists in the field. Moreover, the readings build awareness of the international dimensions of media activity. range, and power. (Track M) LCST 2787 Media Toolkit Faculty Bardin, Stefan' T 03:50 PM • 06:30 PM Credits: 3 CRN 5858 Sec B *Media Toolkit* (Track MI This course situates media in the broader context of an innovative and integrative liberal arts education. As such, it enables students to evaluate and make decisions concerning their relationship to proliferating technologies and various new media. This course combines lectures and lahwork to help students familiarize themselves with various software platforms and multimedia tools. in order to more effectively gather. analyze. contextualize. present, and re-present information within a broad political and cultural framework. After completing the five different modules (intro, image, word. sound, number), students better understand -and are more confident in using-the various modes and methods that enable the critically informed to read between the pixels, as well as meaningfully contribute to the ever- expanding digital public sphere. This is an Integrative course. ITrack MI 00k. or the Dean 10/29/2012 LCST 2788 Screen Toolkit Faculty Beck, Michele W 03:50 PM - 05:30 PM Credits: 3 CRN 5217 Sec A *Screen Toolkit* (Track SI This course combines lectures and tahwork to help students familiarize themselves with various software platforms and multimedia tools, in order to more effectively gather, analyze, contextualize. present, and re-present information within a broad political and cultural framework. After completing the six different modules (text camera, lighting, sound. editing, distribution), students better understand -and are more confident in usingthe various modes and methods that enable the critically informed to 'read between the pixels.' as well as meaningfully contribute to the ever-expanding digital public sphere. This Is an Integrative course. Prerequisite for Screen Studies track. [Track SI LCST 3027 Adaptation Faculty: Collyer. Laurie M 09:00 AM 11:40 AM Credits: 4 CRN 7499 Sec AX *Adaptaton• ITrack SI Turning nothing into something is something every wnter faces when they sit down to create a new piece of work. Adaptation is a screenwriting class where we will learn to turn something which already exists into something else. What we will come to understand, is that we flex the same muscles as when we write from imagination alone. We will adapt news articles. first person interviews. short stories and fairy tales Into screenplays. We will also experiment with genre by watching clips and adapting them into other genres 6 drama to comedy, comedy to western, the possibilities are endless. Weekly staged readings of student work will enhance the experience of writing for actors on screen. Adaptation requires previous screenwriting experience. as well as familiarity with the work of Syd Field and Lagos Egri. (Counts for Track SI LCST 3047 Heterodox Identities Faculty: Lee, Orville TR 01:50 PM 03:30 PM Credits: 4 CRN 7503 Sec A **Heterodox Identities* ITrack CI Racial passing is a ubiquitous and contentious feature of social and cultural life in the United States. Taking —passing" as an object of analysis, this course is organized around the question of whether social identity should be understood as a set of essential characteristics or as a type of —performance. — Discussions centering on readings and films entertain topics such as the conceptualization of race: the dynamics and meaning of racial passing; the movement for the recognition of biracial identities: and the question of —authenticity - in relation to social identities and the politics of the self. (Track CI' LCST 3049 StoryCorps: Radio and Digital Storytelling Faculty: Napolin. Julie M 07:00 PM 09:40 PM Credits: 4 CRN 7593 Sec AX *StoryCorps: Radio and Digital Storytelling* (Track MI This course will be taught in collaboration with the senior producer of public radio's 'StoryCorps.' We will produce a StoryCorps-style oral history of Eugene Lang College. The New School and the surrounding Greenwich Village area. In the first part of the course, we will consider the history and theory of the relationship between voice, storytelling, and recording technology beginning with print media and the phonograph, and leading up to digital media. How have people understood their voices in acts of witnessing. testimony, and other forms of cultural memory? We will also discuss the concept of oral history. considering such projects as Zora Neale Hurston's recordings of slave narratives and Studs Terkel's oral history of the Great Depression. Why do people tell stories and what are the ethics of listening to and documenting them? In studying the StoryCorps project and the fundamentals of radio documentary, students will seek out, document, script edit, and present an oral history that will be a part of a larger podcast and web-series, '51oryCorps at Lane This series will begin to capture the voices of the rich political. Intellectual, and artistic history of our University. Students will have the opportunity to work with StoryCorps facilities. including the various booths around the city. Students will be chosen based on experience and a personal statement 2 Student Fellows with proficiency in sound recording and Pro Tools will be selected to supervise and design a platform for the public presentation of student work. [Track MJ Page 3 of 62 EFTA_R1_01971951 EFTA02677321 LCST 3050 Documenting Williamsburg Living Los Sures Faculty: Zahedt Caveh W 03:50 PM - 06:30 PM Credits: 4 CRN 7556 Sec AX Travel to the acclaimed Elrooklyn-based documentary company. UnionDocs. and contribute to the exciting project, Living Los Sures. an ongoing transrnedia documentary on the historical Puerto Rican barrio of South Williamsburg. Students will create short films with programmer Steve Holrngren and the UnionDocs team, attend screenings, and participate in master classes and professional development workshops. 2 Student Fellows with a proficiency in film production and film editing will be selected to train other students in the use of the audio-visual equipment and software. LCST 3072 Mapping Time: Film & Video History and Theory Faculty: Perlin, Jenny F 09:00 AM - 11:40 AM Credits: 4 CRN 6682 Sec AX *Mapping Time Histories and Theories of Film/Video Installation* This seminar investigates histories. strategies, and concepts of film and video art. The presentation of projected images in a non-theatrical setting dates back to the early days of cinema. In this course we will look at film, video, and media works that use space, sound, site-specificity, multiple channels. loops, and absences as tools for communicating ideas. The course will address histories of projection performance. from the days of magic lantern slides through Dada. Fluxus, and Happenings to contemporary installation, multimedia performance & new technologies. Students will be expected to read from a variety of historical, theoretical, literary. and art historical texts, write papers. and give In-class presentations on historical and contemporary film and video artists. A component of the course will take piece outside the classroom at museums, galleries, and performance spaces throughout New York. Students will have opportunities to meet with art historians. cultural critics. curators and contemporary artists about their practices at a range of workshops and events outside of class. [Tracks M and SI This four-credit course meets for fewer in-class hours than others but requires additional outside of class activities. LCST 3090 Category of Race: Theory, Genesis, Construction, Democracy Faculty: Lee. Orville TR 10:00 AM 11:40 AM Credits: 4 CRN 7594 Sec A "Category of Race: Theory. Genesis. Construction. Democracy* (Track CI This seminar examines the origins and evolution of the category of race in America. We will consider the social and cultural 'conditions of possibility for the existence, reproduction. contestation. and democratization of this category. We will also weigh theoretical and methodological issues pertaining to the study of *race* (Track CI LCST 3107 Intimate Film Cultures Faculty: Guilford. Joshua MW 10:00 AM 11;40 AM Credits: 4 CRN 5871 Sec A *Intimate Film Cultures* (Track S. C & MI What's intimate about cinema? And what 0 if anything 0 is cinematic about intimacy? Within the framework of classical film theory, many of cinema's most Intimate devices (the dose-up• the kiss. the photographic trace. etc.) were Invested with redemptive potential, even deemed revolutionary by some for their capacity to counter modem alienation and repression. More recently however• cultural theorists have problematized such claims, analyzing how cinematic conventions work to structure intimate relations in accordance with normative ideologies. and suggesting that the aspiration for intimacy may itself be crucial to the operation of modern systems of power. Pairing classical and contemporary film theory with diverse contributions to the emerging field of 'intimacy studies' this course explores such issues by considering how problems of intimacy have organized critical and theoretical discourse on a range of Intimate film cultures, from Hollywood melodrama to queer cinema. French surrealism to Italian neorealism, and from underground film to contemporary diasporic cinema. [Track S, C & MI Office or the Dean 10/29/2013 LCST 3108 World Cinema Faculty: Vega-lion& Silvia TR 01:50 PM - 03:30 PM Credits: 4 CRN 6184 Sec A *World Cinema* (Tracks SI This course studies world cinema. initially understood as films of world- importance. not produced in and for Hollywood. Beginning with the pioneering work of French filmmakers, and highlighting German Expressionism of the early 1920s, as well as Russian montage cinema of the late 1920s, the focus shifts to Latin America (Mexico and Argentina) as well as China and Japan In the 1930s and 1940s. After WW II. the course will consider the different 'new waves' in Westem Europe (Italian Neo-Realism. the French Nouvelle Vague, New German Cinema) and Eastern Europe (Poland, Czech Republic. Hungary), From the 1970s onwards, a politicised. anti- and post-colonial cinema emerges in parts of Latin America (Cuba. Argentina, Brazil) and Sub-Sahara Africa (Maio, Senegal. Ethiopia. Burkina Faso). which also reflects the increasing importance of intemational film festivals for world cinema. The 1980s witness a strong presence of Asian films (from Taiwan. South Korea and Hong Kong). while the 1990s reflect the vitality of filmmaking in Mainland China. in Iran. as well as world-class directors in Spain and Mexico. With the arrival of digital media and the spread of globalised culture since the late 1990s. cinema everywhere has undergone such dramatic changes that the course will conclude with new definitions of what is meant by 'world cinema' today. Readings in film history and international film culture will be complemented by critical analyses of individual films. (Tracks SI LCST 3221 Oral Histories of LES Faculty: Gtiff-Sleven, Hanna TR 03:50 PM • 05:30 PM Credits: 4 CRN 5877 Sec A *Oral Histories of The Lower East Side: New Paths to Old Stories* (Track C & MI The Eldridge Street Synagogue was the first of its kind in America a grand structure built by the newly arriving Jewish immigrant community of Eastern Europe. I will work with New School students on creative ways to integrate new technologies such as digital documentation and digital stories into our historic site. Students will be trained in oral history interviewing techniques. transcription, and the evaluation of oral evidence. Each student will conduct an interview, transcribe and edit the material and analyze our current use of technology. The theme for this semester will be food and food memories of the Lower East Side. As a class students will create an exhibition/prOgram/presentation using that technology Integrating the history, aesthetics and spiritual qualities of our space. All classes except for the first one will be at the Museum at Eldridge Street. 12 Eldridge Street NY NY 10002. This class will count towards a minor in Jewish Studies. [Track C & MI LCST 3223 Retro-Futurism Faculty: Elchhorn, Cathleen TR 10:00 AM - 11:40 AM Credits: 4 CRN 6828 Sec A *Retro-Futurism • (Track M & CI This course investigates how technologies and media were imagined in the past and how obsolete technologies and media are re-imagined in the present. Through an exploration of science fiction works and media artifacts, the first pert of the course explores how our present and future lives were imagined by our late 19tAcentury to mid 20th. century counterparts. The second part of the course examines contemporary subcultures from Steampunk to Dieselpunk• which attempt to re-construct how people may have once imagined future worlds. Required course texts include literary, theoretical and cinematic works by writers. theorists and artists such as Jules Verne. William Gibson. Samuel Delany. Wolfgang Ernst and Zoe Beloff. [Track M & C] Page 4d 52 EFTA_R1_01971952 EFTA02677322 LCST 3240 Edgar G. Ulmer Rediscovering a Filmmaker at the Margins Faculty: Isenberg, Noah Credits: 1 CRN 7595 Sec A *Edgar G. Ulmer: Rediscovering a Filmmaker at the Margins* (Track Sj Rediscover the sprawling, eclectic works of Austrian-born emigre filmmaker Edgar G. Ulmer through this weekend-long festival at the Film Society at Lincoln Center and the Center for Jewish History (Jan. 17.20). coinciding with the annual Jewish Film Festival. His work includes: such daring and original horror films as The Black Cat (1934) and 8luebeard (1944): a startling variety of ethnic films, from the all. black musical drama. Moon Over Harlem (1939). to Ukrainian operettas and powerful Yiddish features, most notably The Light Mead (1939): and such film noir classics as Detour (1945). Enjoy screenings and participate in roundtable discussions with Viennese film critic Stefan Grissemann, and head of the Ulmer Preservation Corp.. Arians Ulmer Capes. 2 Student Fellows will be selected to aid in the organizational elements of the screenings, discussions and seminar. Schedule: - Course runs JANUARY 17 . JANUARY 20 Screenings at Uncoln Center on Fri. 1/17 and Sat. 1/18 - Roundtable discussion on Sun. 1/19 and Mon. 1/20 (Track Sj LCST 3324 Social History of New Media Faculty: Scholz. Robert TR 10:00 AM • 11:40 AM Credits: 4 CRN 6829 Sec A *Social History of New Media* (Track M & C) This course follows the history of computing and networking communication. We'll approach the history of communication - from the telegraph. radio. and television, to the Internet and World Wide Web, from a political, cultural, and social perspective. Key themes include: intellectual property. remix. privacy, social netwotking, peer to peer culture, social costs and benefits for net users, and the reoccurring utopian hopes and dreams that accompany the emergence of new media. One mid-term paper, one presentation, and a final paper are required. Readings include Janet Abbate. Katie Hefner. Marshall McLuhan. and Vannevar Bush. (Track M & C) LCST 3523 Designing Digital Knowledges Faculty: Cowan, Theresa TR 01:50 PM - 03:30 PM Credits: 4 CRN 6830 Sec A "Designing Digital Knowledges: Production. Action, Labor* (Track C & M) This course takes up the principals, priorities and possibilities of Speculative Digital Humanities as they are articulated In Johanna Drucker's Speclab, and moves through a set of readings and exercises that will encourage us to consider `imaginary solutions" (Alfred May) to the problems of bringing humanities -based inquiry and creation to the digital and vice versa. We will also study a range of digital projects that —exist— and figure out what they do. how they work and study them through the lens of our key terms: Knowledge, Production. Action. Design and Labor. This course includes work on feminist, queer and critical race code studies, network theory. digital media research and creation, database studies and online archiving and 'anti-archiving,' the politics and practices of Immaterial labor and the impact of Web 2.0 'sharing economies' on digital humanities inquiry and production. Ultimately, students will develop plans for project-specific digital architectures and material worlds. This is not a programming course, but students with backgrounds in programming are welcome to bring their skills to this class! (Track C & Mee or the Dean 10'29/2013 LCST 3562 Animal Images: Representing Non-Human Life Faculty: Burris, Dew* MW 03:50 PM - 05:30 PM Credits: 4 CRN 6831 Sec A 'Non-human animals have been represented in various forms of media throughout history. From ancient instances of illustration upon cave walls paintings to the plethora of modern day visual media. images of —the animarlf have consistently been produced by all human societies, and for a variety of complex purposes. This course traces the manykey instances of animal portrayal through the agesdifferent epochs. with emphasis on identifying the ways in which humans interact with, and maintain, relationships with animals through the creation of their mediated image. Drawing upon sociological and philosophicalinterdisciplinary theoretical viewpoints that explore the subject of the animal and humans—conceptions — of them. we examine and question potential psychological motivations and consequences involved in creating and interacting with animals via their presentation as emblems, friends, and partners. companions, humanized characters, and wild others. Examination of visual media is key to the course and students are expected to contribute image visual examples to the online course blog for collective analysis. as well as and co-creation of a digital gallery that will have an online opening at the end of the semester LCST 3618 Experimental Film: Sites and Spaces Faculty: Yue, Genevieve F 12:10 PM - 02:50 PM Credits: 4 CRN 7571 Sec M *Experimental Film: Sites and Spaces* (Track M & 5) The history and scope of experimental or avant-garde cinema has been closely tied to. but also significantly separate from, the practices of the an world, on one hand. and commercial Hollywood filmmaking, on the other. Situated between these two poles. it has developed into many distinct and overlapping cultures characterized by artisanal modes of filmmaking. independent theatrical and distribution channels, auxiliary print and screening practices, and often highly charged debates concerning medium specificiry, aesthetics, and politics. This course maps the multiple spaces in which experimental film has flourished, from the underground bohemia of downtown New York City and the rural isolation of Stan Brakhage's Colorado outpost. to the 'minor and 'minority cinemas that sprung up on the outskirts of Hollywood and the found footage experiments of contemporary artists in Vienna. Additionally the course examines notions of space as articulated in experimental film and media. including dry symphonies, landscape film, expanded cinema, and modes of ethnographic encounter. In each of the course's many sites of articulation, we will pay close attention to the avant-garde's impulse to locate, in film, video, and digital media, spaces of political resistance. personal expression, and aesthetic possibility. 'Track M & SJ LOST 3782 Feminist and Queer Affect Studies Faculty: Rault, Jasmine TR 11:55 AM 01:35 PM Credits: 4 CRN 6833 Sec A *Feminist and Queer Affect Studies* (Track C) This course develops close studies of current issues in feminist and queer theory. Our readings revolve around contemporary feminist and queer studies of affect. or the politics of feeling 0 a central concern for feminist and queer research since the early 1990s. and a critical component to what has been referred to as 'the affective turn' in studies of social, cultural and political life (Clough and Halley 2007). Students will be introduced to the major texts, issues and debates in the field which explore questions such as: how are ostensibly private and individualized feelings related to very public and shared structures of power? How are feelings gendered, racialized. sexualized and classed? How do we mobilize private. antisocial feelings towards public, social, political and cultural change? (Track CJ Page Sol 52 EFTA_R1_01971953 EFTA02677323 LCST 3789 Cultural Toolkit Faculty: Elchhorn, Cathleen TR 11:55 AM - 01:35 PM Credits: 4 CRN 5797 Sec A *Cultural Toolkit" (Counts for Track C) This course provides students with the methodological competencies required to carry out advanced research in the field of Cultural Studies. Combining theory with case studies. students are introduced to some of the investigative approaches commonly adopted by Cultural Studies scholars, including ethnography. discourse analysis and archival research. Further attention is paid to research ethics and research controversies. In addition to reading articles on the question of method by key theorists, such as James Clifford. Angela McRobbie and Michael Taussig, throughout the course students will be asked to complete short research assignments designed to advance their own research skills. The final assignment will take the form of a proposal for a senior year project. (Counts for Track Ci LCST 3901 Radio/Podcasting: On Mr Faculty: Briggs, James F 12:10 PM - 02:50 PM Credits: 3 CRN 3034 Sec A *Radio/ Radeasting On Air* ITrack MI WNSR is the New School's web-based radio station. Students are responsible for managing and producing content for the station's five programming streams, currently conceived as a series of podcasts while streaming options are being explored. Course components include station management including marketing and fundraising: Audio production including basic recording and mixing Broadcast journalism including interviewing and writing for radio: Feature productions, editing, and critiquing Music programming Artistic performance programming -interfacing with Eugene tang's wide array of creative performance and arts programming. Classes meet fully once a week, but students should be prepared to work independently outside of regular class times. This is a practiced-based course. [Track MI LCST 3901 Radio/Podcastint On Mr Faculty: Montague, Sarah F 12:10 PM - 02:50 PM Credits: 3 CRN 3034 Sec A *Radio/ Podcas-fing: On Air* 'Track M) WNSR is the New School's web-based radio station. Students are responsible for managing and producing content for the station's five programming streams, currently conceived as a series of podcasts while streaming options are being explored. Course components Include station management including marketing and fundraising Audio production including basic recording and mixing Broadcast journalism including interviewing and writing for radio: Feature productions, editing and critiquing Music programming Artistic performance programming -interlacing with Eugene Lang% wide array of creative performance and arts programming. Classes meet fully once a week, but students should be prepared to work independently outside of regular class times. This is a practiced-based course. (Track M) LCST 4022 Internet: Playground&Factory Faculty: Scholz. Robert TR 08:00 AM 09:40 AM Credlb: 4 CRN 6685 Sec A `Digital labor: The Internet as Playground and Factory • [Tracks M & CI This course explores the shift of labOr markets to the intenet where the distinction between work, leisure, communication, and play has faded. In the midst of the worst financial crisis in living memory, the Internet has become a simple-tejoin, anyonecan-play system where digital labor generates profits and data for a small number of commercial and governmental stakeholders. Newly gained freedoms and visions of empowerment for the digital (social) worker have complex social costs that often go unnoticed. The course examines the violence of participation through the lens of examples of waged and unwaged practices including Amazon.com's Mechanical Turk. Txteagle. and Crowdflower). We'll study milestones of labor struggles in the United States and implicate recent exploitative forms of digital labor as a grievous affront to these difficult struggles for the &hour workday. minimum wages. paid vacation, and against child labor. Beyond an analysis of the situation of digital labor, the class will formulate a specific course of action. Readings include Aneesh. Tronti. Virno. Lazzarato, Dibbell. Vercellone Doctorov, von Hippel. and Terranova. Films include Sleep Dealer and Golden Times. Two research papers, one presentation, and a final paper are required. [Tracks M & CI Mar & the Chan 10/29/2013 LCST 4033 Screening Medusa: The Limits of Representation Faculty: Yue, Genevieve F 09:00 AM - 11:40 AM Credits: 4 CRN 7455 Sec Ail *Screening Medusa: The Limits of Representation* (Tracks S. C & MI How do we represent something that, by definition, is unrepresentable? This course uses the myth of the Medusa to approach a variety of issues concerning the problems associated with looking in cinema and other visual media, including medusan ekphrastic poetry. the representation of women and violence. and the notion of forbidden and excessive images. In addition to surveying critical approaches to the study of gender and sexuality, including psychoanalytic and feminist film theory, genre. and studies of gender and sexuality in relation to race, nation, and technology, the course uses the Medusa myth as a lens to test, critique, and expand scholarly discourses in film studies, art history, and theories of gender. How. for example, might psychoanalysis have developed differently if it had taken Medusa instead of Oedipus as its foundational myth? What does Medusa offer in the consideration of monstrous women, from film noirs femmes fatales to the vengeful female ghosts of J-horror? How does the moment of Medusa's decapitation cause us to examine the intersection of vision and violence in contemporary media, both fictive and documentary? And. how might Medusa's body, or the woman's body in generalliboth as a sight to behold and a site of lookingUoffer different ways of thinking representational possibility? Examination of visual media is key to the course and students are expected to contribute posts and images to the course Nog for collective analysis. [Tracks S. C & MJ LCST 4035 Screen Theory: Mind Games & Puzzle Films Faculty: Vega-Llona. Silvia TR 11:55 AM 01:35 PM Credits: 4 CRN 5798 Sec A *Mind Games and Puzzle Films* [Track SI Recent years have seen a surprising number of films gaining both popularity and critical acclaim which leave the spectators baffled, confused and unsure of whether what they saw was on the screen or in their minds. Films like Memento, The Sixth Sense. A Beautiful Mind, Bin-hp, The Life of Pi, Eternal Sunshine of the Spotless Mind. Donnie Darko. Lost Highway. Mulholland Drive and many others, feature convoluted plots and labyrinthine narratives, characters that seem neither alive nor dead, and visuals (whether generated digitally or shot on actual locations) that are as spellbindingly seductive as they are deceptive or indecipherable. A number of books have begun to investigate these films, focusing on parallel worlds, forking path narratives and puzzling storytelling. The course will examine and explore the complexities of these new cinematic fictional worlds. It will ask what can account for this interest in multiple storyli nes, and why do audiences enjoy being challenged in their perception of what is real, imagined or purposely misleading? If the impact of digital media is clearly one of the reasons, do these films also tell us something about the effects of social networks on interpersonal interaction and the ways we perceive the world? (Track SI LCST 4070 Syrnbdic Struggles: Culture Conflict and Consensus In the United States Faculty: Lee, Orville MW 11:55 AM 01:35 PM Credits: 4 CRN 7550 Sec A *Symbolic Struggles: Culture Conflict and Consensus in the United States* (Track C) This course explores the dynamics of culture and power that have shaped social conflict and social consensus in the United States over the last sixty years. Labels such as Liberal. Neoconservative. Feminist, Communitarian. Multiculturalism. and identity Politics are ways in which political and social concerns (e.g.. over racial and gender equality, *gay marriage: and abortion) are commonly interpreted. In addition to clarifying the meaning of these labels, course readings are drawn from contributors to public debates that lie at the intersection of culture and politics as well as sociological analyses of these debates. 'Track CI Pap Sol 62 EFTA_R1_01971954 EFTA02677324 LCST 4102 Modernist Architecture: Designing Race and Sexuality Faculty: RaulL Jasmine TR 01:50 PM - 03:30 PM Credits: 4 CRN 7603 Sec A *Modernist Architecture: Designing Race and Sexuality* (Track CJ Since the start of the twentieth century. architecture and design have been concerned as much with creating new forms of living spaces as new forms of people to occupy them. This course focuses on the contributions early twentieth century modernist architecture and interior design have made to the production and regulation of modern categories of race. gender and sexuality. We will examine texts across the fields of architectural and design studies, histories of sexuality, race, media and communications, as well as feminist and queer theory. Jock CI LCST 4470 Science, Technology. Design Faculty: Wark. Kenneth T 06:00 PM - 07:50 PM Credits: 3 CRN 6961 Sec A *Science, Technology. Design* (Track M) These three fields form something of a continuum, from the pure to the applied, but while science and technology are often studied together as one field. design is not often included as a component of that continuum of practices. In part. this course will function as an introduction to science and technology studies, covering key authors and arguments. In part, it will complicate the narrative of that field a little by introducing the question of how science and technology relate to design practices. In short. if technology is applied science, can we think of design as applied technology? Such at least might be a starting point. The work of Gilbert Simondon and Andre Leroi-Gourhan and Bernard Stieger may help us expand the scope of science and technology studies a little to Incorporate design as a fundamental conceptual category. Seniors/Juniors only. Juniors must obtain permission from instructor. (Track MI LCST 4900 Senior Seminar: Writing a scripted webshow Faculty: Zahedi. Caveh W 12:10 PM • 02:50 PM Credits: 4 CRN 5799 Sec AX This course will involve the writing of a multi-episode web show about the New School. Together. we will come up with a concept for the show, a biography of main characters and supporting characters, a season 'bible* that sets out the story and character arcs for the series, and a season's worth of episodes to be shot the following semester. We will also analyze various web shows and TV series as we explore the question of how to make an episodic web show that is successful and engarang. This is the senior capstone seminar for Culture & Media majors in the Screen Track. You must submit a capstone declaration form in order to enroll in this course. LCST 4900 Senior Seminar: Directing the Documentary Faculty: Collyer, Laurie W 09:00 AM 11:40 AM Credits: 4 CRN 5800 Sec BX This course allows Culture & Media graduating Seniors in the Screen Track (S) to complete their Senior Capstone requirement in a class room enviroment. This four-credit course meets for fewer in-class hours than others but requires additional outside of class activities in the form of mandatory student conferences. The focus is the production of a 5'7 minute documentary film, preferably In the format of cinema verite. Students will gain production. as well as storytelling. experience without the excessive costs or personnel management required in fiction filmmaking Particular emphasis will be given to character development, shot composition and editing technique. Students should enter the class ready to pitch up to three ideas. Graduating Culture & Media Seniors in the Screen Track only. Orrice or the Dean 10'29/2013 LDAN Dance LDAN 2028 Moving With Somatic*, Intro 2 Faculty: Paz. Maria MWF 10:00 AM 11:30 AM Credits: 2 CRN 5255 Sec A This is a movement practice course, at the introductory level, grounded in the perspective of a specific somatic technique -such as Alexander Technique, Klein Technique, Body.Mind Centering, Feldenkrais Technique, or Laban/Bartenieff Movement and Somatic Studies • employing concrete anatomical information as a springboard for fully realized, full-blown dancing, A primary focus is to help each student find a connection to the floor from which she or he can stretch and move out into space. Attention is given