The Perry and Marty Granoff Center for the Creative Arts advances innovative directions for research, teaching, and production across the boundaries of individual arts disciplines and among artists, scientists, and scholars.

Courses

To see a list of past courses, please visit the Course Archive

 

SPRING 2016 COURSES

Spring 2016

Acting Together on the World Stage (Erik Ehn, TAPS)
Practical research in art for social change, with an emphasis on writing and composition, resulting in a series of solo and group devised performances (or well articulated proposals). In-session writing and devising exercises, coupled with a discussion of critical readings and case histories, build to projects that may be constructed solo or in small groups. 

Amor Mundi (Ariella Azoulay, MCM)
This seminar asks how we can visualize differently human rights in an era when photographs depicting their violations abound. We shall study the event of photography and the forms of interrelations it generates and learn how to use photographs to question human rights violations and study their contexts in various sites around the globe. We shall learn to discern how photographs record not only particular rights violations, but general structures of dispossession as well. We will ask how understanding those records can help us (re)write a visual declaration of human rights. 

Artful Teaching: Intersecting the Arts with Language Acquisition (Patricia Sobral, Portuguese & Brazilian Studies)
How can we create meaningful experiences for those learning a foreign or second language? What makes the creative arts (art)iculate so powerfully and naturally with foreign and second language acquisition? How do the arts enable students to become aware of surrounding cultures while simultaneously acquiring a new language? This course will explore connections between the arts--visual, literary and performing--and language acquisition in a combined workshop and seminar approach.

Artists and Scientists as Partners (Julie Strandberg, Theater Arts and Performance Studies)
This course explores the use of dance and music with people with Parkinson's disease and those on the Autism Spectrum. This exploration includes research in neuroscience, ethnography, curricular development, and existing arts practices for these populations through readings, guest lecturers, and site placements.

CAVE Writing (John Cayley, Literary Arts)
An advanced experimental workshop for writing in immersive 3D - at the cutting edge of new media - introducing text, sound, spatial poetics, and narrative movement into Brown's "Cave". An easy-to-learn and easy-to-use application allows non-programmers to create projects on their laptops and then to run them in the Cave without the necessity for specialist support. Broadly interdisciplinary, the course encourages collaboration between students with different skills in different media, who work together to discover a literary aesthetic in artificially rendered space. 

Digital Design for Theater (Sara Ossana,TAPS)
A comprehensive introduction to the use of two-dimensional computer aided tools to realize scenic design elements and diversify the designers’ visual vocabulary. A thorough understanding of digital work-flow from concept development, input, to computer aided design and output will be achieved. The course will cover: Introduction to Drafting with Auto-cad and plotting; Introduction to the use of the Adobe Creative Suite including Photoshop, Illustrator and InDesign as they relate to set design and implementing designs in full-scale; Typography and basic Graphic Design elements and how they relate to scenic elements, scaling and technical applications.

Digital Media (Wendy Chun, MCM)
This course introduces students to the critical study of digital media: from surveillance to hactivism, from cyberpunk fiction/films to art installations, from social media to video games. Students will analyze the aesthetics, politics, protocols, history and theory of digital media. Special attention will be paid to its impact on/relation to social/cultural formations, especially in terms of new media’s “wonderful creepiness,” that is, how it compromises the boundaries between the public and private, revolutionary and conventional, work and leisure, hype and reality. 

Digital Nonfiction (Michael Stewart, English)
Digital Nonfiction is an opportunity to explore the fundamental differences between print and digital narratives. Focusing on three short assignments and one longer project, this class encourages students to learn by doing. Additionally, students develop their digital fluency by exploring a variety of platforms and readings.

Recording Studio as Compositional Tool (Jim Moses, Music)
A study of advanced studio techniques taught in parallel with topics in psychoacoustics. Students will create original studio work while developing listening and technical skills for audio production. Technical topics include recording, signal processing and mixing software, microphone technique, and live sound engineering. 

Screenwriting 1 (Laura Colella, Literary Arts)
A workshop for students who have little or no previous experience in writing screenplays

Site & Sound (Ed Osborn, Visual Art)
This studio course provides an overview of contemporary sound art and sound installation, facilitates the development of site-based sonic artwork, and encourages a critical approach to sound and audio practice. Work will be developed for and from specific sites with special emphasis placed on modes of listening and the physical characteristics of sound itself.

Theory of the Sign (Ellen Rooney, MCM)
A survey of three late 20th c. theorists: Louis Althusser, Jacques Derrida, and Michel Foucault. Analyses will focus on these figures as they emerge from and reorient the broad field of semiotics, with particular attention to the evolution of each oeuvre, the continuities and discontinuities that distinguish their theoretical claims, and their diverging legacies. 

What is Colonialism? (Ariella Azoulay, Comparative Literature)
Through a close reading of a variety of texts and images from 16th -19th century students will study the transformation of lands and people into appropriable objects and the formation of political regimes in and through different colonial projects, following the encoding of slavery in literary works, in the corpus of laws, in travelers’ visual renditions and in the bodies of people. Students will create small textual and visual archives around different topics, and will use them in writing their final work.

Voice of Text (Kristin Hayter, Literary Arts)
An exploration of the voice as mediator among text, sound and performance. The vocal instrument will be thoughtfully investigated with examination of extreme and unorthodox iterations of voice/text/sound, including: castrati repertoire, extended technique ranging from Diamanda Galas to black metal, coded shortwave radio transmissions, electronic vocal synthesis and the ecstatic speech of glossolalia. Additionally, voiced text will be given historical context through fiction and poetry, film, theater and music. Students will explore a variety of techniques and technologies, harnessing the expressive potential of the voice across a wide variety of disciplines.