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AFRICAAM 20A: Jazz Theory (MUSIC 20A)

Introduces the language and sounds of jazz through listening, analysis, and compositional exercises. Students apply the fundamentals of music theory to the study of jazz. Prerequisite: Music 19, consent of instructor, or satisfactory demonstration of basic musical skills proficiency on qualifying examination on first day of class. This class is closed by design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment.
Terms: Aut | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
Instructors: ; Nadel, J. (PI)

AFRICAAM 37: Contemporary Choreography: Chocolate Heads 'Garden After Dark' Performance Project (DANCE 30)

The Chocolate Heads Movement Band will engage in an interdisciplinary project-based course to develop collaborative choreography and installation art with visual and musical components. How can we attune our senses to perceive the subtleties of our surroundings? How can we learn to perceive the magic hiding in plain sight? The Autumn '23-'24 project will make use of remixing strategies, deep listening practices, and outdoor exploration to animate these questions in a multisensorial performance piece. We will cultivate an imaginary garden full of wild, surprising, and mysterious entities. Taking inspiration from landscape architecture, textiles, lighting, and projection design, we will bring the outside world in to create a dance and performance ecology. The course will feature collaborations with guest scientists, artists, and somatic practitioners. Our garden is open to all forms of creative expression and all levels of experience; we invite dancers, movers, and emerging creators of all styles and backgrounds. WEEK 1: TU 9/26--Introduction to the Project & CHs Band; THU 9/28--1st Audition Workshop. Contact Aleta Hayes (ahayes1@stanford.edu) for more information.
Terms: Aut | Units: 1-2 | UG Reqs: WAY-CE | Repeatable for credit
Instructors: ; Hayes, A. (PI)

AFRICAAM 45: Dance Improvisation from Freestyle to Hip Hop (DANCE 45)

In this dance improvisation class, we will develop techniques and practices to cultivate an improvisational practice in dance and domains beyond. This class is an arena for physical and artistic exploration to fire the imagination of dance improvisers and to promote collaborative and interactive intelligence. We will draw upon dance styles and gestural vocabularies, including contemporary dance, hip-hop, vogue and more. Students will learn how to apply these improvisational dance ideas to generate and innovate across disciplines. Accompanied by a live DJ, students will practice listening with eyes, ears, and our whole bodies. Open to students from all dance, movement, and athletic backgrounds. Beginners welcome.
Last offered: Spring 2022 | Units: 1-2 | UG Reqs: WAY-CE | Repeatable for credit

AFRICAAM 167: Animated By Origins: Africa and The Americas (ARTSTUDI 167M)

When working with experimental animation, what can we learn from the Shangaan about compositing, layering and collaging, from the Dogon about counter-rhythms and remixing, or from the Lakota about observation and improvisation? In this class, we will gain a deep understanding of and draw connections between experimental creative practices in selected indigenous/vernacular cultures across Africa and the Americas. We will do this in order to reimagine frameworks for approaching, creating and experiencing experimental media art outside Western canons. Assignments will require students to engage either their own origin stories, histories and/or other archives of their choice or interest. This source material can be personal, collective, public, general, formal, informal, real or imagined. We will look at different ways of approaching archival material (photographs, sound, video, writing, memory) for the purposes of connecting disparate elements into brief and cohesive or anti-cohesive animations. This is an introductory experimental animation class, so no prior experience of animation or video/sound editing is needed.
Terms: Win | Units: 2 | UG Reqs: WAY-CE

AFRICAAM 180D: Designing Black Experiences (ENGR 180)

This discussion-rich course is for students to learn design thinking to more confidently navigate life and careers as members and allies of the Black community. This course will allow students to navigate identity while building community to uplift Black voices through design thinking tools to help leverage their experiences and gain a competitive edge. Students will gain a deeper understanding of intersectionality, how to create and cultivate alignment, and learn to effectively navigate life design schemas, ideas, and options.
Terms: Win, Spr | Units: 2 | UG Reqs: WAY-CE

AFRICAAM 186: Black Experimental Narrative (ARTSTUDI 186)

How do Black video artists and filmmakers use materials, space, and language to construct the subjective space of storytelling? Black Experimental Narrative surveys the aesthetics, history, and theories that characterize experimental Black cinema and video art through a comprehensive range of filmmakers and artists that have contributed work to the canon. As a class project, we will work collectively to design and publish an original publication featuring a selection of work created during the course.
Last offered: Autumn 2022 | Units: 4 | UG Reqs: WAY-CE

AFRICAAM 189: Zora Neale Hurston (AMSTUD 187)

An exploration of the life, times, and works of Zora Neale Hurston, who died in obscurity in 1960 despite having published more books than any other African American woman. We will encounter the diversity of Hurston's interests across a range of media - her training as an anthropologist, her work in the folk cultures of the American South and the urban environment of the North, her diasporic interest in Black expression in the US, the Caribbean, and Africa. We will read Hurston's plays, short stories, folklore, essays, anthropology, and novels, and consider her interest in - and contributions to - photography, film, and music."
Last offered: Spring 2023 | Units: 3-5 | UG Reqs: WAY-CE, WAY-EDP

AMSTUD 91A: Asian American Autobiography/W (ASNAMST 91A, CSRE 91D, ENGLISH 91A)

This is a dual purpose class: a writing workshop in which you will generate autobiographical vignettes/essays as well as a reading seminar featuring prose from a wide range of contemporary Asian-American writers. Some of the many questions we will consider are: What exactly is Asian-American memoir? Are there salient subjects and tropes that define the literature? And in what ways do our writerly interactions both resistant and assimilative with a predominantly non-Asian context in turn recreate that context? We'll be working/experimenting with various modes of telling, including personal essay, the epistolary form, verse, and even fictional scenarios. First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Terms: Win | Units: 5 | UG Reqs: WAY-CE, WAY-EDP
Instructors: ; Lee, C. (PI)

AMSTUD 177B: Contemporary American Short Stories (ENGLISH 177B)

An exploration of the power and diversity of the American short story ranging from the 1970s to the present day. By examining short stories historically, critically, and above all as art objects, students will learn how to read, interpret, critique, and enjoy short stories as social, political, and humanist documents. Students will learn techniques to craft their own short stories and their own critical essays in a course that combines creative practice and the art of critical appreciation.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

AMSTUD 187: Zora Neale Hurston (AFRICAAM 189)

An exploration of the life, times, and works of Zora Neale Hurston, who died in obscurity in 1960 despite having published more books than any other African American woman. We will encounter the diversity of Hurston's interests across a range of media - her training as an anthropologist, her work in the folk cultures of the American South and the urban environment of the North, her diasporic interest in Black expression in the US, the Caribbean, and Africa. We will read Hurston's plays, short stories, folklore, essays, anthropology, and novels, and consider her interest in - and contributions to - photography, film, and music."
Last offered: Spring 2023 | Units: 3-5 | UG Reqs: WAY-CE, WAY-EDP

ANES 72Q: The Art of Medical Diagnosis

The Art of Medical Diagnosis: Enhancing Observational Skills through the Study of Art is an interactive, multidisciplinary undergraduate course that explores various ways in which studying art increases critical observational skills vital for aspiring health care providers. Students will be introduced to the concept of `Visual Thinking Strategies' through classroom, art creation, and museum based activities. Students will apply these skills to both works of art and medical cases. Significant focus will be on engaging in group discussions where they will collaboratively use visual evidence to generate and defend hypothesis. Drawing and sketching from life will play a critical role in honing observational skills through weekly assignments, workshops, and a final project. The interactive nature of this course pivots students away from a typical lecture based course to a self-directed learning experience.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE

ANTHRO 104: Tools for Meaningful Communities (LEAD 104, LIFE 104)

How can we live together and honor both difference and belonging? How do we create community amidst divisiveness and the existential threats of climate change, oppression of marginalized peoples, and our disconnection from ourselves and each other? We are inherently relational and have the potential to heal, flourish, and lead. Leadership and changemaking must be rooted in a commitment to deep inner work that cultivates wellbeing, insight, and wisdom. Inner work radiates outward to shape the systems that create and sustain our societies. In this class, grounded in your experiences at Stanford, you will cultivate skills and tools to enhance your intrapersonal, interpersonal and extrapersonal capacities to enact change for yourself and others. Working in teams, you will learn about and practice building community through the application of interdisciplinary frameworks that provide multiple perspectives on the transformation of the self, our relations with each other, our communities, and societal systems.
Last offered: Winter 2023 | Units: 3 | UG Reqs: WAY-CE, WAY-EDP

ANTHRO 134D: Introduction to Museum Practice (ARCHLGY 134, ARCHLGY 234, ARTHIST 284B)

This is a hands-on museum practicum course open to students of all levels that will culminate in a student-curated exhibit. It entails a survey of the range of museum responsibilities and professions including the purpose, potential, and challenges of curating collections. While based at the Stanford University Archaeology Collections (SUAC), we will visit other campus collections and sites. Students will plan and realize an exhibition at the Stanford Archaeology Center, gaining skills in collections management, research, interpretation, and installation.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE | Repeatable 3 times (up to 15 units total)
Instructors: ; Raad, D. (PI)

APPPHYS 100: The Questions of Clay: Craft, Creativity and Scientific Process (ARTSINST 100)

Students will create individual studio portfolios of ceramic work and pursue technical investigations of clay properties and the firing process using modern scientific equipment. Emphasis on development of creative process; parallels between science and traditional craft; integration of creative expression with scientific method and analysis. Prior ceramics experience desirable but not necessary. Limited enrollment. Prerequisites: any level of background in physics, Instructor permission.
Last offered: Spring 2020 | Units: 5 | UG Reqs: WAY-CE, WAY-SMA

ARABLANG 10: Arabic Calligraphy

Arabic calligraphy is the supreme art of the Islamic world. Other Islamic arts, such as architecture, metal work, ceramics, glass, and textiles, draw on calligraphy as their principal source of embellishment. Interactive lecture-workshop sketches Arabic calligraphy's development and illustrates the various types of Arabic calligraphy in use today use. Prerequisite: Knowledge of Arabic writing and reading required. May be repeated 3 times for credit.
Terms: Win, Spr | Units: 3 | UG Reqs: WAY-A-II, WAY-CE | Repeatable 3 times (up to 9 units total)
Instructors: ; Barhoum, K. (PI)

ARCHLGY 134: Introduction to Museum Practice (ANTHRO 134D, ARCHLGY 234, ARTHIST 284B)

This is a hands-on museum practicum course open to students of all levels that will culminate in a student-curated exhibit. It entails a survey of the range of museum responsibilities and professions including the purpose, potential, and challenges of curating collections. While based at the Stanford University Archaeology Collections (SUAC), we will visit other campus collections and sites. Students will plan and realize an exhibition at the Stanford Archaeology Center, gaining skills in collections management, research, interpretation, and installation.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE | Repeatable 3 times (up to 15 units total)
Instructors: ; Raad, D. (PI)

ARTHIST 105B: Medieval Journeys: Introduction through the Art and Architecture (ARTHIST 305B, DLCL 123)

The course explores the experience and imagination of medieval journeys through an interdisciplinary, cross-cultural, and skills-based approaches. As a foundations class, this survey of medieval culture engages in particular the art and architecture of the period. The Middle Ages is presented as a network of global economies, fueled by a desire for natural resources, access to luxury goods and holy sites. We will study a large geographical area encompassing the British Isles, Europe, the Mediterranean, Central Asia, India, and East Africa and trace the connectivity of these lands in economic, political, religious, and artistic terms from the fourth to the fourteenth century C.E. The students will have two lectures and one discussion session per week. Depending on the size of the class, it is possible that a graduate student TA will run the discussion session. Our goal is to give a skills-oriented approach to the Middle Ages and to engage students in creative projects that will satisfy either the Ways-Creative Expression requirement or Ways-Engaging Difference. NOTE: for AY 2018-19 HISTORY 115D Europe in the Middle Ages, 300-1500 counts for DLCL 123.
Last offered: Spring 2020 | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-CE, WAY-EDP

ARTHIST 180: Art, Meditation, and Creation (ARTSINST 280, LIFE 180)

Art and meditation invite us to be fully present in our minds and bodies. This class will give you tools to integrate mind and body as you explore artworks on display at the university's museums and throughout campus. In your engagement with activity-based learning at these venues, you will attend to perception and embodiment in the process of writing and making creative work about art. You will also learn meditation techniques and be exposed to authors who foreground the importance of the body in both writing and making art. For your meditation-centered and research-based final creative project, you will have the option of writing an experimental visual analysis or devising a performance.
Last offered: Spring 2023 | Units: 3 | UG Reqs: WAY-A-II, WAY-CE

ARTSINST 100: The Questions of Clay: Craft, Creativity and Scientific Process (APPPHYS 100)

Students will create individual studio portfolios of ceramic work and pursue technical investigations of clay properties and the firing process using modern scientific equipment. Emphasis on development of creative process; parallels between science and traditional craft; integration of creative expression with scientific method and analysis. Prior ceramics experience desirable but not necessary. Limited enrollment. Prerequisites: any level of background in physics, Instructor permission.
Last offered: Spring 2020 | Units: 5 | UG Reqs: WAY-CE, WAY-SMA

ARTSINST 142: Drawing with Code (ARTSTUDI 163)

This studio course will engage coding practices as drawing tools. What makes a good algorithmic composition? How do we craft rule-sets and parameters to shape an interesting work? What changes if we conceive of still outputs, ongoing processes, or interactive processes as the "finished" work? We will look at the history of algorithmic drawing, including analog precedents like Sol LeWitt and other conceptual artists, along with current pioneers like John Simon Jr., Casey Reas, and LIA. Outputs will involve prints as well as screen-based works. Some basic coding experience is helpful, but not required. Assignments are based on conceptual principals that students can engage with at different coding skill levels. This is a good way for non CS students to explore coding practices as well as for CS students to hone their skills. We will work primarily in the free Processing software for our explorations.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Utterback, C. (PI)

ARTSINST 150G: Performing Race, Gender, and Sexuality (CSRE 150G, CSRE 350G, FEMGEN 150G, LIFE 150G, TAPS 150G)

In this theory and practice-based course, students will examine performances by and scholarly texts about artists who critically and mindfully engage race, gender, and sexuality. Students will cultivate their skills as artist-scholars through written assignments and the creation of performances in response to the assigned material. Attendance and written reflection about a live performance event on campus are required. Students will also learn various meditation practices as tools for making and critiquing performance, in both our seminar discussions and performance workshops. We will approach mindfulness as method and theory in our own practice, as well as in relation to the works studied. We will also consider the ethics and current debates concerning the mindfulness industry. Examples of artists studied include James Luna, Nao Bustamante, Renee Cox, William Pope.L, Cassils, boychild, Curious, Adrian Piper, Xandra Ibarra, Valérie Reding, Guillermo Gomez-Peña, and Ana Mendieta.
Last offered: Autumn 2022 | Units: 4 | UG Reqs: WAY-CE, WAY-EDP

ARTSINST 280: Art, Meditation, and Creation (ARTHIST 180, LIFE 180)

Art and meditation invite us to be fully present in our minds and bodies. This class will give you tools to integrate mind and body as you explore artworks on display at the university's museums and throughout campus. In your engagement with activity-based learning at these venues, you will attend to perception and embodiment in the process of writing and making creative work about art. You will also learn meditation techniques and be exposed to authors who foreground the importance of the body in both writing and making art. For your meditation-centered and research-based final creative project, you will have the option of writing an experimental visual analysis or devising a performance.
Last offered: Spring 2023 | Units: 3 | UG Reqs: WAY-A-II, WAY-CE

ARTSTUDI 19N: An Artist's Life: Diverse Voices and Changing Contexts

This course is designed for students considering an Art Practice minor or major. In this course, students gain confidence and experience connecting to their artistic voices as we explore the myriad possible career paths artists take to build sustainable careers. The course consists of a series of studio projects, each centered around a different artist whose career and art practice we study. The example artists will be primarily artists of color, or artists from communities which are underrepresented in the art world, with practices and careers ranging from the conventional to the more unusual. The goal of these artist selections is to model the possibilities of an art career for students who do not easily see themselves well represented in the mainstream art world, while also broadening all students¿ understanding of the many different methods for making work and practicing as an artist today.
Last offered: Autumn 2020 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 101: Art Practice Foundation 2D

This course is based on the central role of interdisciplinary connections and exchanges in artistic practice. Students will explore the two-dimensional areas of art: painting, drawing, printmaking and photography. They will work on their projects in various area labs, focusing on the translation of concepts across different modes of expression, geared to generate a creative vision beyond traditional media boundaries. Students will also learn how to develop and refine ideas around the design and lay-out of an exhibition and the various ways to document their work as professional artists.
Terms: Aut, Win, Spr | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 102: Art Practice Foundation 3D/4D

This course is based on the central role of interdisciplinary connections and exchanges in artistic practice. Students study the work of several prominent artists using different three-dimensional media taught in the department's studio program, including sculpture, video and digital art. This is a practically oriented class with a seminar component, which focuses on the translation of concepts across different modes of expression in order for students to develop a creative vision beyond traditional media boundaries. There are no prerequisites for this class.
Terms: Aut, Win, Spr | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Weefur, L. (PI)

ARTSTUDI 111: Moving Image I

Moving Image 1 offers an introductory exploration of the dynamic field of video from an art practice perspective. This course comprehensively examines the history, medium, and contemporary techniques employed in image sequences, encompassing video art, animation, and generative video. Students will develop a foundational understanding of the compelling nature of storytelling through the integration of image and time and acquire a critical perspective of the power of moving images. Throughout the course, we will traverse significant milestones in the field, ranging from Eadweard Muybridge's groundbreaking work with The Horse in Motion to immersive Augmented Reality experiences and beyond. Students will actively engage with diverse artistic mediums, including flipbooks, stop motion, .gifs, video recording and editing, digital animation, and generative video. Moving Image 1 offers an inviting entry point for students to explore and appreciate the transformative potential of moving images while fostering their creative storytelling abilities, media literacy, thought-provoking experimentation, and creative problem-solving. No prerequisites are required to enroll in this introductory art course
Terms: Aut, Win | Units: 3-5 | UG Reqs: WAY-CE
Instructors: ; Novelo Cruz, M. (PI)

ARTSTUDI 114: Worldbuilding: Sound, Video, Space

The course is an immersive exploration of the creative possibilities offered by interactive media, focusing on integrating video, sound, and physical elements to construct captivating worlds and experiences. Students will learn the fundamental principles of storytelling, spatial design, sound design, and interactive technologies and apply them to create engaging and interactive installations. This course provides a unique opportunity to delve into installation art, projection mapping, Touch Designer, and Arduino circuits and sensors. Throughout the course, students will gain hands-on experience designing and developing immersive environments, learning how to construct interactive narratives, incorporate soundscapes, and employ cutting-edge technologies. They will explore the power of projection mapping to transform physical spaces, understand the capabilities of Touch Designer for building interactive video and sound systems, and harness the potential of Arduino circuits and sensors to integrate physical elements into their installations. Prerequisites: None. This course is open to students interested in creative media, art, storytelling, and technology. Basic familiarity with multimedia tools and concepts is beneficial but not required.
Terms: Aut, Win | Units: 3-5 | UG Reqs: WAY-CE
Instructors: ; Novelo Cruz, M. (PI)

ARTSTUDI 123I: Undergraduate Seminar in Composition: Music, Art, and Intermedia (MUSIC 123I)

How do music and art relate? How does one speak for, with, the other? In the past century, Western visual art turned towards abstraction and time-based works. Techniques and processes for interaction between image and sound expanded dramatically. What better place to learn about them than the Anderson Collection? Through students' own visual and aural creations, we will explore and share individual approaches to time, symbol, memory, and meaning. Previous experience in music composition is welcome but not required. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways-AII credit.
| Units: 2-3 | UG Reqs: WAY-A-II, WAY-CE

ARTSTUDI 129: Augmented Reality: Placemaking and Storytelling

In this 4-unit course, students will explore the transformative potential of Augmented Reality (AR) as a medium for artistic expression and intervention in public spaces. The course delves into the world of interactive AR art, equipping students with the skills to create site-specific AR interventions that not only transform public spaces but also unlock historically important, unseen, or politically relevant layers of these spaces. The course covers storytelling techniques, audio recording and editing, and the use of Unity and other spatial tools for AR creation, equipping students with the skills to weave complex narratives into their AR projects. These narratives can bring to light the hidden histories, untold stories, and socio-political nuances of the chosen spaces, adding a depth of meaning and engagement to their work. Students will engage in a series of projects, culminating in a final project where they will create an interactive, immersive AR piece for a specific location on campus
Terms: Aut | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Szasz, B. (PI)

ARTSTUDI 130: Interactive Art: Making it with Arduino (ARTSTUDI 231A)

Students use electronics and software to create kinetic and interactive elements in artwork. No prior knowledge of electronics or software is required. Students learn to program the Arduino, a small easy-to-use microprocessor control unit ( see http://www.arduino.cc/ ). Learn to connect various sensors such as light, motion, sound and touch and use them to control software. Learn to interface actuators like motors, lights and solenoids to create movement. Learn to connect the Arduino to theMAX/MSP/Jitter programming environment to create media-intensive video and audio environments. Explore the social dimensions of electronic art. (lower level)
Terms: Win | Units: 4 | UG Reqs: WAY-CE
Instructors: ; DeMarinis, P. (PI)

ARTSTUDI 131: Sound Art I (MUSIC 154A)

Acoustic, digital and analog approaches to sound art. Familiarization with techniques of listening, recording, digital processing and production. Required listening and readings in the history and contemporary practice of sound art. (lower level)
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-CE
Instructors: ; DeMarinis, P. (PI)

ARTSTUDI 132: Storytelling Through Light

Storytelling Through Light is an intermediate digital photography course designed to teach students the fundamentals of using light to construct narratives, communicate emotions and create evocative images. Through lectures, screenings and hands-on practice, students will gain a better understanding of how light works in photography and how it can be used to affect the mood, atmosphere and overall look of their work. Most weeks involve an Outdoor Shoot to a location on the Stanford campus for demonstration and real-time practice. Students should be expected to have prior understanding of fundamental principles of camera operation, shooting in manual mode, and editing. Students can use either their smartphone or a DSLR.
Terms: Aut | Units: 2 | UG Reqs: WAY-CE
Instructors: ; Ren, Y. (PI)

ARTSTUDI 136: The Portable Studio

With a decrease in available real estate and an increase in virtual real estate via the Internet and new technologies, contemporary artists are developing new means of creative production that do not necessarily require the use of a traditional art studio. This interdisciplinary course follows this line of thought and will function as a means to explore systems of art-making through nomadic practices outside of the traditional art studio. The overall goal of this course is to challenge students to think differently about the nature of studio practice, where they will explore themes of public versus private, and physical versus virtual space through the creation of time-based artwork. By way of lectures, readings, and class assignments students will be introduced to sound, video, social practice, and performance art that will be developed and presented though unconventional means with an emphasis on site. No previous experience required.
Last offered: Autumn 2019 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 136A: Future Media, Media Archaeologies (ARTSTUDI 236, MUSIC 236)

Hand-on. Media technologies from origins to the recent past. Students create artworks based on Victorian era discoveries and inventions, early developments in electronic media, and orphaned technologies. Research, rediscover, invent, and create devices of wonder and impossible objects. Readings in history and theory. How and what media technologies mediate.
Last offered: Winter 2022 | Units: 3-4 | UG Reqs: WAY-CE

ARTSTUDI 139: Portraiture and Facial Anatomy for Artists (SURG 241)

Focus is on the art of portraiture and underlying structures of the face, fundamental anatomical elements such as the skull and muscles of facial expressions, and the intersections between human anatomy and art. Studio sessions incorporate plastic models, dry bones, cadaveric specimens, and live models. Encourages use of proper anatomical terminology for describing structures and their relationships.
Terms: Win | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 140: Drawing I

Functional anatomy and perspective as they apply to problems of drawing the form in space. Individual and group instruction as students work from still life set-ups, nature, and the model. Emphasis is on the development of critical skills and perceptual drawing techniques for those with little or no previous experience with pastels, inks, charcoal, conte, and pencil. Lectures alternate with studio work. (lower level)
Terms: Aut, Win, Spr | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 141: Plein Air Painting

Plein Air (Outdoor) Painting is a wonderful way to build skills, explore your relationship to site, and unlock your voice and hand. We will paint at different locations on and off-campus, learning a variety of painting techniques in changing weather and light. This class is great for both true beginners and advanced students. Basic painting skills are incorporated throughout the quarter, with advanced options at each stage. Acrylic paint is versatile and fast-drying; we will use it to get a range of effects from washy watercolor, blended oil effects, and building the surface sculpturally, painting on different surfaces. As we move, we will consider the elements of site and the materiality of paint: water, earth, architecture and the nuance of human gesture. History and memory are parsed in both the visible and hidden worlds around us. On-site paintings are not touched after class; rather they exist as an ephemeral moments in time. Three outside projects allow each person to paint at their own pace, and spend more time developing ideas and skills. In this class, process is privileged and ¿failure¿ is embraced. Adventure is our priority; weather is our co-creator. Final projects will be based on individual concepts, allowing each person to stretch creatively and develop their own voice.
Last offered: Spring 2021 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 141S: Drawing Outdoors

In this introductory class, we take drawing out into the world, exploring different environments, techniques, and approaches as we go. The fundamental nuts-and-bolts of basic drawing techniques: light logic, depicting depth and drawing the figure, are integrated into each environment. From the Stanford campus: its cafe's, architecture and landscaping, to redwoods and water, to more urban settings, drawings will range from high-speed gestures to longer, more contemplative work. Through pen, graphite, charcoal, ink, watercolor/gouache and mixed media, we explore dichotomous relationships, as well as those in seemingly perfect harmony. We move from the inanimate to animate, figure and architecture, motion and stillness, to the micro and macro, considering how even the smallest patch of earth may be as monumental as Hoover Tower. Both beginning and advanced students are welcome. Summer.
Last offered: Summer 2022 | Units: 3 | UG Reqs: WAY-CE

ARTSTUDI 142A: A Deep Dive in Artmaking During the Time of Covid-19

In this hands-on course, we produce a body of work that responds to key concepts examined in contemporary art with a specific emphasis on the impact of artmaking due to Covid-19. During this historical moment, we explore alternative possibilities of the artmaking process, geared to adjust to implementations of shelter in place, social distancing, and the reduction of resources. This course provides the opportunity to experiment with unconventional art media and develop new methods of engaging with each other and the community.
Last offered: Autumn 2020 | Units: 2 | UG Reqs: WAY-CE

ARTSTUDI 144: PRINTMAKING AND ACTIVISM

Hands-on studio course that introduces students to a variety of printmaking techniques, while exploring printed matter's role in activism in both history and in current events. This course introduces students to printmaking and graphic art techniques as tools for political activism, and explores how students can print as a tool in dialogue towards social change. Prior printmaking experience is helpful not necessary for this course.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)
Instructors: ; Wilson, M. (PI)

ARTSTUDI 145: Painting I

Introduction to techniques, materials, and vocabulary in oil painting. Still life, landscape, and figure used as subject matter. Emphasis is on painting and drawing from life. (lower level)
Terms: Aut, Win, Spr | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 145A: Painting as Storytelling

This is a special class taught by Holt visiting artist John Bankston. Coulter Gallery will provide a unique classroom space, where student work will be displayed in an ongoing exhibition that will grow over time for the public to observe.Using the fundamentals of painting, this class will explore paintings narrative potential through several painting projects. The project themes will be memory, emotion, the self and the painting process. The class will culminate in a group mural that incorporates ideas from class projects.
Last offered: Autumn 2021 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 145M: Mural Painting

This rare class explores making a mural in the context of mural history. We will engage the history of mural painting from ancient to contemporary times for an informed production of murals on canvas in one of the painting studios at school. The social, the political and the cultural roles mural painting has played will be discusses while students will be engaged in making their own.
Last offered: Winter 2022 | Units: 2 | UG Reqs: WAY-CE

ARTSTUDI 146: Photoshop and Painting

This is a focused introduction to still life painting and Photoshop. Students will learn to indicate simple form with a single light source and then learn to paint form lights, various forms, and cast shadows. Students will also gain an understanding of warm and cool colors. Emphasis is on composition, cropping, overlapping and placement in the picture plane. Students will also learn the basics of photoshop and how it can be used as an aesthetic tool to benefit students work.
Last offered: Autumn 2019 | Units: 2 | UG Reqs: WAY-CE

ARTSTUDI 147: Art Book Object (ARTSTUDI 247A)

This mixed introductory and upper level studio course explores contemporary aesthetic interpretations of the book as an art object. Students learn to use both traditional and digital tools and techniques for creating artists' books, and integrate those into final works of art. The course familiarizes students with basic bookbinding processes and forms, as well as various modes of printing and production that facilitate limited artist editions. In addition to making books, we view numerous artists' books in the Bowes Art & Architecture Library collection as well as the collection of the instructor, and meet with practicing artists and book makers. Students create a number of small books, each focused on a particular process but using content of their choice. Upper level students propose and create a more fully evolved final project involving at least one bookbinding process independently researched in consultation with the instructor.
Terms: Aut, Spr | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 148: Monotype

Introduction to printmaking using monotype, a graphic art medium used by such artists as Blake, Degas, Gauguin, and Pendergast. May be repeated for credit. Prerequisite: 140. (lower level). May be repeated 2 times for total of 8 units.
Last offered: Winter 2023 | Units: 4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)

ARTSTUDI 148A: Introduction to Lithography

The classic technique of printing from limestones and metal plates. Students will learn techniques to draw and etch their imagery onto the stone/plate. The prints will be created in numbered editions. Students will have the opportunity to work in color on a variety of sizes. There will be visits to the campus museum print collection.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Kain, K. (PI)

ARTSTUDI 148B: Introduction to Printmaking

Techniques such as monotype, monoprint, photocopy transfers, linocut and woodcut, intaglio etching. Demonstrations of these techniques. Field trips to local print collections or print exhibitions. (lower level)
Last offered: Spring 2021 | Units: 4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)

ARTSTUDI 148P: The Hybrid Print (ARTSTUDI 248P)

This class explores experimental printmaking methods where digital and traditional practices collide. It focuses on the interchange between conventional and new methods of printmaking, and possibilities for the print beyond paper and the flat picture plane in contemporary art. Techniques will be demonstrated in class, and students will pursue projects using these techniques, developing their own conceptual interests. We will explore digital processes using large format printers, as well as digitally augmented traditional printmaking methods such as monoprints, collographs, woodblock and linocut, aided by dye sublimation, vinyl cutting, and 3-d printing. Students will have access to a wide array of both digital and traditional tools, and will develop projects using a combination of methods, resulting in a body of work. Discussions will address the expansive nature of contemporary fine art printmaking.
Terms: Aut, Win, Spr | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 149C: Etching

In this class students will explore various techniques of etching (or intaglio) on zinc plates such as, hard ground, soft ground, aquatint, marbling aquatint and sugar lift, through an electrolytic process that uses no acid but sulfates and very low electrical power (1.5 V or the same as a AA battery). This process is much less toxic that the traditional etching with nitric (which produces toxic fumes) or ferric acid (difficult to clean). These techniques will be complemented by other ones that can be mixed with etching such as photocopy transfers, Chine collé (attaching a different color paper between plate and main paper), and mono-printing. Etching/Intaglio (making a mark under the surface of the plate) is one of the most tactile and elegant forms of printmaking. The plate leaves a 3-D line mark and embossed marks in the deep etched areas as well as at the edges of the plate. Many major artists have left memorable images by working in this medium (Rembrandt, Goya, Kathe Kollwitz, Eduard Munch, and many others) influencing many contemporary artists.
Terms: Win | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Kain, K. (PI)

ARTSTUDI 150N: Queer Sculpture (FEMGEN 150N)

Outlaw sensibilities, self-made kinships, chosen lineages, utopic futurity, exilic commitment, and rage at institutions that police the borders of the normal these are among the attitudes that make up queer in its contemporary usage. -David J. Getsy. This hands-on studio based course explores queer as a form of art production. Artists and thinkers use queer to signal defiance to the mainstream and an embrace of difference, uniqueness and self-determination. To be intolerable is to demand that the normal, the natural and the common be challenged. To do this is not to demand inclusion, but rather to refuse to accept any operations of exclusion and erasure that make up the normal and posit compulsory sameness. Queer Sculpture is also about the strategic effort to appropriate and subvert conventional art practices and tactics that may involve everything from shifts in the content of a work and its targeted audience to the methods by which it is produced and its formal properties. The political imperatives of a queer or queered position will shape thematic investigations of practices related to utopic futurity, anti-assimilationist practices, failure, abstraction, the archive, camp, drag and alternative families. Classes will require reading, discussing, and making. Students will produce artwork for critiques and participate in discussions of the readings. The course includes guest artists and fieldtrips to local LGBTQ archives.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Berlier, T. (PI)

ARTSTUDI 150Q: Queer Sculpture

Outlaw sensibilities, self-made kinships, chosen lineages, utopic futurity, exilic commitment, and rage at institutions that police the borders of the normal these are among the attitudes that make up queer in its contemporary usage. David J. GetsynnThis hands on studio based course explores queer as a form of art production. Artists and thinkers use queer to signal defiance to the mainstream and an embrace of difference, uniqueness and self-determination. To be intolerable is to demand that the normal, the natural and the common be challenged. To do this is not to demand inclusion, but rather to refuse to accept any operations of exclusion and erasure that make up the normal and posit compulsory sameness. Queer Sculpture is also about the strategic effort to appropriate and subvert conventional art practices and tactics that may involve everything from shifts in the content of a work and its targeted audience to the methods by which it is produced and its formal properties. The political imperatives of a queer or queered position will shape thematic investigations of practices related to utopic futurity, anti-assimilationist practices, failure, abstraction, the archive, camp, drag and alternative families. Classes will require reading, discussing, and making. Students will produce artwork for critiques and participate in discussions of the readings. The course includes guest artists and fieldtrips to local LGBTQ archives.
Last offered: Spring 2020 | Units: 4 | UG Reqs: WAY-CE, WAY-EDP

ARTSTUDI 151: Sculpture I

Traditional and non-traditional approaches to sculpture production through working with materials including wood, metal, and plaster. Conceptual and technical skills, and safe and appropriate use of tools and materials. Impact of material and technique upon form and content; the physical and expressive possibilities of diverse materials. Historical and contemporary forming methods provide a theoretical basis for studio work. Field trips; guest lecturers.
Terms: Aut, Win | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 152: Soft Sculpture

Textiles lend themselves to be formed and constructed to fit around three-dimensional objects and become a skin to the object within. They can hold materials inside of them, produce imagery, and divide space. This sculpture course investigates fibers and their ability to transform forms and space. Students learn sewing techniques, upholstery techniques, and how to make sewing patterns to create sculptures. Through projects and workshops, students consider the relationships of textiles to the human figure, interior and exterior settings, and traditions in craft.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Hemenway, D. (PI)

ARTSTUDI 153: Ecology of Materials

Studio-based sculpture course. Materials used in sculpture and environmental concerns surrounding them. Artists concerned with environmental impact and the interconnection of art with other fields. The impact of material and technique upon form and content; understanding the physical and expressive possibilities of diverse materials. Conceptual and technical considerations. Group discussions, critiques, readings, video presentations, a field trip to a local artist-in-residence program, and visiting lecturers. (lower level)
Terms: Aut | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Luellen, M. (PI)

ARTSTUDI 155: Social Sculpture (TAPS 155)

This course investigates the body as sculptural material in order to investigate private and social spaces. Through the development of projects in the realm of social practice, performance, and/or audience interaction, students will explore what it means to accept all aspects of life as potential sculpture. Artistic actions will be used to understand or question the function and psychological aspects of a space. We will use the social as material form for experimentation to combine language, concept, action, place, and object with civic engagement, participatory embodiment to structure the social.
Last offered: Winter 2023 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 156: Installation Art in Time and Space

This hands on studio based sculpture course focuses on developing concepts, and creating a site-specific installation art project. This class will addresses the impact of material and technique upon form and content; therefore understanding the physical and expressive possibilities of diverse materials. Conceptual and technical considerations will be addressed. Students will learn traditional building techniques as needed (wood shop, metal shop, mold making, found object) as well as anti-object techniques. Students will make 3-4 projects that will culminate in a final site-specific installation. We will look at contemporary artists working in the field of installation art. Group discussions, critiques, readings, video presentations, field trips and visiting artists will augment the class. Installation Art is based on the merger of Space and Time and on a relationship between the artist and the visitor. Utilizing your interests and abilities in a variety of subjects and media, you will create environments that immerse the viewer in a sensory/ intellectual/ emotional experience. The material and methods you use can range from everyday objects, to highly personalized forms, from appropriated sounds to surveillance video, from large wall drawings to interactive switches for the participant to manipulate. The class will consist of demonstrations of art skills particularly useful in installation (sculptural, video, audio, interactive media, etc), presentations by the professor, research and reports and journal entries, and weekly critique. Installation Art is a pervasive, varied, global practice for art-making that acts as a gathering place for expression in all media addressing all subjects in a wide range of styles by broad grouping of artists.
| Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 158M: Ephemerality: Time in Sculpture and Digital Media

This course is a survey of ephemeral art within the context of sculpture and digital media. Students consider the art object made to last forever, in contrast with the object meant to disintegrate, decompose, or fall apart. Through a series of activities, lectures, and assignments we will research artwork's ability to stand the test of time. Students create ephemeral work in a range of techniques including food, found objects, mold making and casting, photography, digital media, and performance.
Last offered: Winter 2022 | Units: 2 | UG Reqs: WAY-CE

ARTSTUDI 160: Intro to Digital / Physical Design

Contemporary production processes, both manufacturing and media processes often span the digital and the physical. 3D Depth cameras can scan real world models or movements, which can be manipulated or adjusted digitally, then re-output to the physical world via a myriad of 2D and 3D printing and laser cutting technologies. Crowd sourced information is uploaded to social media, which in turn guides our physical meeting places. Google street-view maps our physical world, and augmented reality displays overlay it. How as artists or designers to we grapple with and use this digital / physical permeability to create new experiences and meaning for our current time? This introductory studio course explores various tool sets as well as artists working across these genres. This course is a good baseline exploration for anyone interested in designing or making art with emerging contemporary tools.
Last offered: Spring 2020 | Units: 3-4 | UG Reqs: WAY-CE

ARTSTUDI 160M: Performance Art

In this introductory course, students will learn about the fundamentals of performance art and create their own performance-based projects. We will be making works critically engaging race, culture, gender and identity to evoke self empowerment and social change. Students will engage in daily practices such as body movement exercises and meditation to increase their performance awareness. Final presentations of projects include in-class presentations, group collaborations, and video performances. Our focus will be on queer artists and artists of color from the 20th century onward. No prior experience is needed.
Last offered: Autumn 2022 | Units: 2 | UG Reqs: WAY-CE

ARTSTUDI 160X: Tele-Reality: Live-Streaming Art

This course examines the field of live-feed media through the lens of art practice, exploring previous experiments and the potential of the medium. Using social media outlets and user-to-user communication platforms¿such as Youtube, FaceTime, Twitch, Instagram, and closed-circuit cameras¿students will create moments for captive audiences using displacement as a medium. By nature, live streaming is a fleeting digital performance that combines television, theater, and film practices with internet platforms and physical venues to present single performances or series of performances, pre-recorded footage, or improvisational scenes. Live-streaming opens an opportunity for borderless expression, to express social change, to share non-mainstream messages, and allows access to massive communication to diverse voices and perspectives.
Last offered: Autumn 2020 | Units: 2 | UG Reqs: WAY-CE

ARTSTUDI 162: Embodied Interfaces

Our computers, phones and devices see us predominantly as fingers and eyes staring at screens. What would happen if our technology acknowledged more of our rich physical presence and capabilities in its design? How have artists and designers used different sensing technologies to account for more of our embodied selves in their works? In this studio course we explore various sensing technologies and design artworks that engage our whole selves. Interfaces explored range from the practical to the poetic. Sensors may involve flex sensors, heat sensors, microphones and simple camera tracking technology. We analyze different tools for their appropriateness for different tasks and extend them through our designs.
Last offered: Autumn 2020 | Units: 4 | UG Reqs: WAY-A-II, WAY-CE

ARTSTUDI 163: Drawing with Code (ARTSINST 142)

This studio course will engage coding practices as drawing tools. What makes a good algorithmic composition? How do we craft rule-sets and parameters to shape an interesting work? What changes if we conceive of still outputs, ongoing processes, or interactive processes as the "finished" work? We will look at the history of algorithmic drawing, including analog precedents like Sol LeWitt and other conceptual artists, along with current pioneers like John Simon Jr., Casey Reas, and LIA. Outputs will involve prints as well as screen-based works. Some basic coding experience is helpful, but not required. Assignments are based on conceptual principals that students can engage with at different coding skill levels. This is a good way for non CS students to explore coding practices as well as for CS students to hone their skills. We will work primarily in the free Processing software for our explorations.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Utterback, C. (PI)

ARTSTUDI 164M: Art of Resistance: Community Building and Self Preservation through Zine Making

This class explores the history, practice, and technique of creating fanzines as a device for protest or community building. Discussions, projects, and readings focus on the history of self-publishing for the preservation of minority and marginalized interests. This course will familiarize students with various techniques for using appropriated and original imagery by way of printmaking, photography, design, and illustration. In addition to engaging with imagery, students will learn effective ways to design using text and typography to support their message. Students will create a small number of zines, each focused on a particular discipline but using the content of their choice. Students will also have the opportunity to hear from guest speakers involved in zine-making and view zine collections from the San Francisco Library and Marjorie Barrick Museum of Art in Las Vegas, Nevada as well as the personal collection of the instructor.
Last offered: Spring 2022 | Units: 2 | UG Reqs: WAY-CE

ARTSTUDI 165A: Intro to Art & Technology

This introductory studio course provides a practical and conceptual foundation for students interested in digital, electronic, and interactive art. Students learn basic electronics, creative code, and digital art making techniques culminating in physical artworks and installations. Topics include history, ethics, and philosophy of contemporary art that both use and address emerging technology. The speed and momentum with which digital technology, culture, and policy are evolving creates a need for urgent and constant adaptation and critique. In this course we work to deconstruct the origins of the current technological moment and to rebuild our own visions of the future in the form of original works of art.
Terms: Aut, Win, Spr | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 165M: Practice, Practice, Practice: Cultivating Creative Rituals and Routines

Focuses on the importance of daily rituals and routines through experiments and exercises in various mediums. We divide time between examining those who create daily using meditation, writing, drawing, performance, photography and more to tackle concepts of identity, time, endurance, memory, the mundane and the miraculous and working towards our own daily practice. Students set the rules for their daily practice. All experience levels welcome.
Last offered: Autumn 2021 | Units: 2 | UG Reqs: WAY-CE

ARTSTUDI 166: Sculptural Screens / Malleable Media (ARTSTUDI 266)

In this mixed intro and upper level studio course, students will experiment with video and computational outputs embedded in physical scenarios. What new physical formats are made possible by contemporary screen and projection-mapping technologies? How can we make expressive use of LCD screens, pico projectors, i-pad arrays, and LEDs? The class will address the screen as sculptural medium by examining established artists like Nam June Paik, Michael Snow, Tony Oursler, and Pippilotti Rist, as well as exploring emerging contemporary artists tackling this medium. Prerequisites to take the class at the 266 upper level include one of the following: Intro to Digital/Physical Design, Embodied Interfaces, Media Archaeologies, Making it with Arduino, Digital Art 1, Electronic Art or permission of instructor. The intro level 166 course can be taken with no prerequisites.
Last offered: Spring 2021 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 167: Introduction to Animation

Projects in animation techniques including flipbook, cutout/collage, stop-motion such as claymation, pixilation, and puppet animation, rotoscoping, and time-lapse. Films. Computers used as post-production tools, but course does not cover computer-generated animation. (lower level)
Last offered: Winter 2022 | Units: 3-4 | UG Reqs: WAY-CE

ARTSTUDI 167M: Animated By Origins: Africa and The Americas (AFRICAAM 167)

When working with experimental animation, what can we learn from the Shangaan about compositing, layering and collaging, from the Dogon about counter-rhythms and remixing, or from the Lakota about observation and improvisation? In this class, we will gain a deep understanding of and draw connections between experimental creative practices in selected indigenous/vernacular cultures across Africa and the Americas. We will do this in order to reimagine frameworks for approaching, creating and experiencing experimental media art outside Western canons. Assignments will require students to engage either their own origin stories, histories and/or other archives of their choice or interest. This source material can be personal, collective, public, general, formal, informal, real or imagined. We will look at different ways of approaching archival material (photographs, sound, video, writing, memory) for the purposes of connecting disparate elements into brief and cohesive or anti-cohesive animations. This is an introductory experimental animation class, so no prior experience of animation or video/sound editing is needed.
Last offered: Winter 2023 | Units: 2 | UG Reqs: WAY-CE

ARTSTUDI 167S: DIY Animation and Video

This course will introduce students to stop-motion animation and video editing techniques for art making, created on cell phones and with freely available software and tools. Students in this class will analyze and create lo-res or "DIY" works designed for fast production and distribution via internet and social media channels.
Last offered: Summer 2022 | Units: 3 | UG Reqs: WAY-CE

ARTSTUDI 168: Data as Material

How can data be used as material in art and design projects? Beyond straight-forward ideas of data-visualization, this studio course investigates how we construct meaning from sets of information, and how the construction of those sets determines the meaning itself. This course also investigates different display aesthetics and how this is also a strategy for generating meaning. Artists studied include those who use various forms of personal, public, and social data as part of their practice. Historical examples from conceptual artists and other genres are considered along with contemporary artists working with data in digital or hybrid digital/physical formats.
Last offered: Autumn 2021 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 169: Virtual Reality: the possibility and peril of immersive artwork

How can we use virtual reality systems to create powerful, beautiful and socially engaged artworks? Is it possible to use technically sophisticated (and sometimes frustrating) tools to share our unique personal visions? What can working in virtual reality teach us about our embodied reality and sense of presence? How might we question the hype and techno-utopianism surrounding VR, by using the medium itself? What is left out of the current conversation around VR that you would like to explore?nnIn this introductory studio art course, students will learn to create artworks using virtual reality systems. We will use the HTC Vive, Oculus Rift, and Daydream VR headsets, as well as more accessible phone-based augmented reality systems to explore this medium. Through lectures and research presentations, we will familiarize ourselves with the artistic history of VR - from foundational works from the 1990's through current examples - in order to inform our own work. nnStudents will become familiar with the fundamental studio art practice of analyzing and critiquing their own and others' projects. Learning to analyze artwork in turn helps students create works with more emotional and conceptual impact. nnWhile there are no official prerequisites for this course, familiarity with any kind of scripting language or coding environment will be helpful as Unity will be used as the main authoring environment.
Terms: Win | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Graham, V. (PI)

ARTSTUDI 170: Light and Shadow

Through film and dark room instruction, students learn to use a SLR 35-mm camera and to operate manual settings (focus, aperture, shutter speed). They develop an awareness of light and its various properties and possibilities. Students become familiar with black and white darkroom techniques creating contact sheets and to evaluating prints, make corrections and re-print. They acquire essential knowledge of historical and contemporary black and white art photography, including standards of quality and image sequencing. They get a basic sense of aesthetics and of the critical discourse that exists around the cultural significance of images.
Terms: Aut, Win, Spr | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 171: Introduction to Photography

This is an introductory course in photography that explores lens-based practices and the imperative of visual literacy in today's world. The history of photography starts now, in a context of image-making that proceeds all around us with unprecedented immediacy and proliferation. We cover fundamental principles of camera operation, composition and image editing. Through digital instruction, students learn to use DSLR or Mirrorless cameras and to operate manual settings (focus, aperture, shutter speed, ISO, color temp/white balance). They learn basic file management as well as the use of Adobe Lightroom software. Students acquire an essential knowledge of contemporary art photography, including standards of quality and image sequencing. They get a basic sense of aesthetics and of the critical discourse that exists around the cultural significance of images. Students will need a DSLR or Mirrorless camera. A small number of cameras are available for students to use for the quarter if they are unable to provide their own.
Terms: Aut, Win, Spr | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 172: Art and Teratology

This studio course looks at the relationships between biology and art, particularly as they relate to the topic of "monsters". Rather than addressing the ways in which art has assisted the biological sciences (as in medical illustration), we'll focus on the ways in which biology has influenced the art-making practice. Course material will address our changing conceptions of biology and the monstrous, and the ways in which artists engage these cultural shifts. Students are responsible for creating art works that address these themes and others that emerge from class discussions and presentations, in any medium of their choosing.
Last offered: Winter 2020 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 173A: Introductory Photography: Blue

This introductory course into photography invites students to experience, reflect on and be inspired by images of blue. They will create work using the process of cyanotyping, the low-cost photographic printing technique of a century ago that now functions as an Instagram filter. Using these blue-prints as a touchstone, we will explore blue as a physical, natural, artistic and spiritual manifestation. Students provide their own cell phone camera of choice, and software will be provided.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Calm, J. (PI)

ARTSTUDI 173E: Cell Phone Photography

The course combines the critical analysis of cell phone photography with the creation of photographic art works that explore this specific medium's experimental, social and documentary potential. The increasing ubiquity of cell phone photography has had a widespread impact on the practice of photography as an art form. We will consider and discuss the ways in which the platforms of cell phone photography (Instagram, Snapchat) are democratizing image-making and transforming notions of authorship and subjectivity to an unprecedented extent, but also how the use of new technological tools help expand notions of creativity and aesthetic standards.
Terms: Aut, Win | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Peck, S. (PI)

ARTSTUDI 173M: Beyond Representation: Conceptual Photography

This workshop course expands the perception of images and their interpretation. Is it possible to photograph a dream or an emotion? In a series of lectures, readings, and assignments, we approach photography more as a reference and allusion than a simple depiction of things. Using any accessible photo camera, students will create a range of images of various genres and transform them into a personal narrative through strict selection and basic photo editing.
Last offered: Winter 2023 | Units: 2 | UG Reqs: WAY-CE

ARTSTUDI 173S: Cell Phone Photography

The course combines the critical analysis of cell phone photography with the creation of photographic art works that explore this specific medium's experimental, social and documentary potential. The increasing ubiquity of cell phone photography has had a widespread impact on the practice of photography as an art form. We will consider and discuss the ways in which the platforms of cell phone photography (Instagram, Snapchat) are democratizing image-making and transforming notions of authorship and subjectivity to an unprecedented extent, but also how the use of new technological tools help expand notions of creativity and aesthetic standards.
Last offered: Summer 2023 | Units: 3 | UG Reqs: WAY-CE

ARTSTUDI 174B: Creativity in the Age of Facebook: Making Art for and from Networks

This class explores the history, practice and technique of creating art on and for the internet. Discussions, projects and readings focus on the ways in which internet art embodies changing ideas about artistic creation, technology, and interactivity as a way of blurring the line between artist and audience. Setting recent work against the backdrop of earlier moments in contemporary art (found object art, photomontage), this course also situates internet art in the pre-internet tradition of finding new perspectives on, and meanings in, overfamiliar or banal media surroundings. In collaborative and individual projects, students will create visual compositions on online platforms such as NewHive and explore social media interventions, Twitter experiments, crowdsourced work, collections of online found imagery, supercuts, GIFs, and "choose your own adventure"- style online storytelling.
Last offered: Winter 2021 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 175A: Video Installation

Video Installation is a hybrid studio critique and seminar class that explores the potential of cinematic arts within the context of spatial dynamics and formal configuration. The emphasis will be on the conceptual and experimental, rather than a conventional application of film narrative as a way to convey meaning, and considers video as a sculptural material. Screenings, lectures, and class projects will focus on installations that transform film and video into sculpture, architecture, and site-specific forms.
Last offered: Spring 2023 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 176: Installation: Sensorial Concepts

This course considers the history of installation art to develop an expanded understanding through sensorial practices. Students will explore the process and work of contemporary artists working in installation art and discuss the various approaches to installation art. Assignments will consist of projects that reflect class lectures & discussions, site visits, and visiting artists. There will be directed readings and viewings with a focus on installation works that consider the 5 basic human senses as we have come to understand them.
Last offered: Winter 2023 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 177: Video Art

Video holds the ability to bear witness and reconstruct realities of space and time. In this class we study the development of the medium in the 1970s and how artists have since used it as an experimental apparatus. Projects involve creating short video works through narrative, performative, and abstracted approaches. This class explores conceptual possibilities of recording and editing video by utilizing camera technique, lighting, sound design, found footage, and nonlinear digital editing. (lower level)
Last offered: Winter 2022 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 177M: DIY Movies

Using a 'do it yourself' approach, we will create short films in response to key concepts in cinema. In this course, we will experiment with unconventional and traditional methods of filmmaking that employ a diverse range of media. Together, we will devise strategies to work around resource limitations and consider how simple technologies can be tools for making thought-provoking cinematic experiences. Through workshops, discussions, and film screenings, we will explore the possibilities and significance of filmmaking in the 21st century.
Last offered: Winter 2022 | Units: 2 | UG Reqs: WAY-CE

ARTSTUDI 178: Art and Electronics

Analog electronics and their use in art. Basic circuits for creating mobile, illuminated, and responsive works of art. Topics: soldering; construction of basic circuits; elementary electronics theory; and contemporary electronic art. (lower level)
Last offered: Spring 2021 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 179: Digital Art I

Contemporary electronic art focusing on digital media. Students create works exploring two- and three-dimensional, and time-based uses of the computer in fine art. History and theoretical underpinnings. Common discourse and informative resources for material and inspiration. Topics: imaging and sound software, web art, and rethinking the comptuer as interface and object. (lower level)
Last offered: Spring 2021 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 180: Media Art in the Age of Surveillance (ARTSTUDI 280)

How can media art practices effectively interrogate our data environment? This studio course investigates systems that collect personal data, such as video and consumer databases, by turning their regulatory, contractual and legislative frameworks onto the systems themselves. Techniques include the `legal readymade', `tactical fiction', and algorithmically-driven discourse. A field trip will introduce drone mapping and choreographing. Assignments include individual projects, and class collaboration on a video that assembles our various approaches into a hybrid fiction-documentary. No prerequisites; basic video skills helpful.
Last offered: Autumn 2021 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 182: Queered Tech and Speculative Design

What does it mean to `queer' something? Expanding this term's meaning beyond gender and sexuality, `to queer' is to question, challenge, subvert, and reimagine social norms and structures of power. In this course, we build from queer theory to consider invisible assumptions and biases in everyday objects, then design technologies that propose new ways of being. For example: What would a clock look like if it were designed for a world without capitalist notions of productivity? Students will create three electronic artworks using Arduino micro-controllers, sensors, light, motors, and sound. Tutorials will provide fundamental instruction in electronics and programming. This is an introductory art course with no prerequisites.
Last offered: Winter 2022 | Units: 4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)

ARTSTUDI 182M: Queer Storytelling: We Have Always Been Here

For centuries, storytelling has been used as a way to connect with those around us and to bring others into our inner world. QTBIPOC communities use storytelling as a way to be recognized and carve our own space within a cis-heteronormative society. In this practice and discussion-based course, students will create visual stories drawing from their own life, memory and imagination. We will experiment with various mediums such as collage, mixed media, or video performance. By centering stories by QTBIPOC we can continue to subvert the dominant narrative and ultimately create a future where everyone belongs.
Last offered: Autumn 2021 | Units: 2 | UG Reqs: WAY-CE

ARTSTUDI 185: Interactive Storytelling

This course explores strategies for crafting interactive stories. It takes students from story-teller to game designer to book maker. Through a series of narrative exercises, readings, lectures, and technical demos; students create a story-based game and a companion printed risograph zine. The story's visual and spatial structure are authored using Twine, a free online tool that lets anyone new to programming create their own interactive games in a web page. The zine will act as a guide for building the storyworld and an archive for the concepts being explored.
Last offered: Autumn 2020 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 186: Black Experimental Narrative (AFRICAAM 186)

How do Black video artists and filmmakers use materials, space, and language to construct the subjective space of storytelling? Black Experimental Narrative surveys the aesthetics, history, and theories that characterize experimental Black cinema and video art through a comprehensive range of filmmakers and artists that have contributed work to the canon. As a class project, we will work collectively to design and publish an original publication featuring a selection of work created during the course.
Last offered: Autumn 2022 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 187: Animation, Memory, and the Self-Portrait

This introductory experimental animation and media course will explore color, images, and the remains of our memories to reconstruct, reimagine, and expand ideas of the Westernized archetype of self-portraiture. Where do fiction and autobiography embrace? What does self-portraiture have to do with either? Students will animate their findings using collage, video, drawing, and repetition. We will first gather sounds, memories, found objects, and new experiences to workshop our personal self-portrait. An essay by Toni Morrison, "The Site of Memory", and a variety of experimental media practices will guide us. The final project will be a collaborative installation-performance, using source material created during the class. No prior experience of animation, performance, video, or sound editing is required.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Oparah, N. (PI)

ARTSTUDI 201: Art Practice Major Seminar

In this WIM course, students develop writing skills specific to the Art Practice discipline, including Artists Statements, Research Statements, and Grant Proposals, which are required of all professional artists. These written materials are created in tandem with a paired body of exploratory artwork which the texts elucidate and inform. Through iterations of writing and artworks, students experience how each of these practices, writing about artwork and making artwork, refine and advance each other. Students leave this course with an articulated artistic vision, an understanding of the specific context in which they see their work developing, and a set of research questions on which to base future bodies of work. The critical thinking, writing, research techniques and artistic materials developed in this course will prepare students for the more self-directed work required in the 200 level studio courses and in the Major Capstone course leading to the majors senior exhibition. This course also prepares all Art Practice majors to produce the written and portfolio materials required for our honors application (an Artists Statement, Work Proposal and Portfolio), should they desire to do so.
Terms: Win | Units: 5 | UG Reqs: WAY-CE
Instructors: ; Utterback, C. (PI)

ARTSTUDI 213: The Fine Art Print

This course focuses on the central role of digital printing in photography practice. Students are introduced to intermediate-level digital printing using large-format inkjet printers. The course combines critical analysis and printing technology to explore the creation of photography for experimental and conceptual approaches. Students gain a deeper insight and stronger grasp of practices in contemporary digital photography with a continuing focus on the importance of photo editing and sequencing as well as questions around the practical implications and limits of photographic images. This is an intermediate course in photography, with an ongoing emphasis on operating manual camera settings (focus, aperture, shutter speed, ISO, color temp/ white balance). This course covers the fundamentals of digital color and black & white printing, how to process image files for print, and how to develop a cohesive personal workflow for consistent output. Critiques will address conceptual, aesthetic, and technical approaches within each student's work. Prerequisite: ARTSTUDI 170 or ARTSTUDI 171 or ARTSTUDI 173E or equivalent. Students must provide their own cameras (DSLR or Mirrorless).
Terms: Aut | Units: 3-5 | UG Reqs: WAY-CE

ARTSTUDI 230: Interdisciplinary Art Survey

This course is designed to develop diversity of concepts and strategies within the student's artistic practice. The course includes a survey of artists using different media taught in the department's studio program such as painting, drawing, video and digital art, printmaking, photography, and sculpture. This seminar-style class seeks to expand the artistic practice outside of traditional media boundaries and focuses on the translation of concepts across various media. Art Practice majors and minors only. (upper level)
Last offered: Winter 2021 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 236: Future Media, Media Archaeologies (ARTSTUDI 136A, MUSIC 236)

Hand-on. Media technologies from origins to the recent past. Students create artworks based on Victorian era discoveries and inventions, early developments in electronic media, and orphaned technologies. Research, rediscover, invent, and create devices of wonder and impossible objects. Readings in history and theory. How and what media technologies mediate.
Last offered: Winter 2022 | Units: 3-4 | UG Reqs: WAY-CE

ARTSTUDI 239: Intermedia Workshop (MUSIC 155, MUSIC 255)

Students develop and produce intermedia works. Musical and visual approaches to the conceptualisation and shaping of time-based art. Exploration of sound and image relationship. Study of a wide spectrum of audiovisual practices including experimental animation, video art, dance, performance, non-narrative forms, interactive art and installation art. Focus on works that use music/sound and image as equal partners. Limited enrollment. Prerequisites: consent of instructors, and one of FILMPROD 114, ARTSTUDI 131, 138, 167, 177, 179, or MUSIC 123, or equivalent. May be repeated for credit
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-CE | Repeatable 2 times (up to 8 units total)

ARTSTUDI 240: Drawing II

Intermediate/advanced. Observation, invention, and construction. Development of conceptual and material strategies, with attention to process and purpose. May be repeated for credit. Prerequisite: 140 or consent of instructor. (upper level)
Terms: Win, Spr | Units: 4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)
Instructors: ; Moreno, J. (PI); rick, G. (PI)

ARTSTUDI 241: Expression in Brush and Ink

In this upper-level drawing class, students learn to use brush and ink as unique expressive means though the study of traditional and contemporary ink paintings, drawing from life as well as free experimentation. Observation, expression and abstraction will be integrated through persistent practice.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)
Instructors: ; Xie, X. (PI)

ARTSTUDI 242: Drawing and Creative Writing

A dynamic mix of guided writing and drawing assignments, and self-driven studio time. We will get dirty with the ABCs of drawing while playing with freeing constraints and looking closely into the visual dimension of words. Through a spirited, daily practice students will learn how to trust and blast open the art that they uniquely make. Students will create their own semiotic games, word-shapes and poem-pictures. Investigating cross-pollinations, intersections and possibilities as points of departure, we will experiment with inventive tensions between visual and written images. We will look at (and write about) art history as artists.
Terms: Spr, Sum | Units: 4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)
Instructors: ; Rossell, D. (PI)

ARTSTUDI 243: Anatomy for Artists (SURG 143)

Lectures highlight the intersections and influences between human anatomy and art. Studio sessions provide an opportunity for students to immerse in anatomically inspired studio projects. Drawing, mixed media, and some painting mediums will be used during the studio sessions. Plastic models, dry bones, cadaveric specimens, and live models will be used for the studio sessions. Class time includes art instruction, creation and feedback. May be repeated for credit. Honing individual style is encouraged; both beginning and advanced students are welcome.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE

ARTSTUDI 245: Painting II

Symbolic, narrative, and representational self-portraits. Introduction to the pictorial strategies, painting methods, and psychological imperatives of Dürer, Rembrandt, Cézanne, Kahlo, Beckmann, Schiele, and Munch. Students paint from life, memory, reproductions, and objects of personal significance to create a world in which they describe themselves. May be repeated for credit. Prerequisites: 140, 145, or consent of instructor. (upper level)
Terms: Win, Spr | Units: 4 | UG Reqs: WAY-CE | Repeatable 4 times (up to 16 units total)

ARTSTUDI 247: Collage

Collage has influenced painting and drawing practices, as well as film and photography through juxtaposition, scale shifts, and reappropriation of the found image. Although many iconic works in this medium date to the 20th century, this course focuses on collage as a vibrant, contemporary form. Lectures on artists using collage with new vigor. Studio component focused on experimentation and exploration. Student work is encouraged to speak to personal, aesthetic, or political concerns, using findings from magazines, advertisements, internet, and other sources. Working with Photoshop, scans and with print, we will use collage elements to create new and stunning compositions of contemporary life.Prerequisites: 140, 145, or consent of instructor. (upper level). May be repeated for credit
Terms: Aut | Units: 4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)
Instructors: ; Ebtekar, A. (PI)

ARTSTUDI 247A: Art Book Object (ARTSTUDI 147)

This mixed introductory and upper level studio course explores contemporary aesthetic interpretations of the book as an art object. Students learn to use both traditional and digital tools and techniques for creating artists' books, and integrate those into final works of art. The course familiarizes students with basic bookbinding processes and forms, as well as various modes of printing and production that facilitate limited artist editions. In addition to making books, we view numerous artists' books in the Bowes Art & Architecture Library collection as well as the collection of the instructor, and meet with practicing artists and book makers. Students create a number of small books, each focused on a particular process but using content of their choice. Upper level students propose and create a more fully evolved final project involving at least one bookbinding process independently researched in consultation with the instructor.
Terms: Aut, Spr | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 248P: The Hybrid Print (ARTSTUDI 148P)

This class explores experimental printmaking methods where digital and traditional practices collide. It focuses on the interchange between conventional and new methods of printmaking, and possibilities for the print beyond paper and the flat picture plane in contemporary art. Techniques will be demonstrated in class, and students will pursue projects using these techniques, developing their own conceptual interests. We will explore digital processes using large format printers, as well as digitally augmented traditional printmaking methods such as monoprints, collographs, woodblock and linocut, aided by dye sublimation, vinyl cutting, and 3-d printing. Students will have access to a wide array of both digital and traditional tools, and will develop projects using a combination of methods, resulting in a body of work. Discussions will address the expansive nature of contemporary fine art printmaking.
Terms: Aut, Win, Spr | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 251: Mold Making + Casting

This sculpture course offers instruction in various methods of mold making including one and two part plaster molds, one time throw away molds, flexible molds, mother molds, simple body casts and casting in hydrocal plaster, wax, and clay. Students use mold making and casting to create elements in artwork. Students bring objects they desire to cast or make a form in clay. Understanding how to select an object to mold that is compatible with each process as well as size limitations for each process. (No hot metal casting in this course). Priority given to students who have taken Sculpture I.
Terms: Win | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Berlier, T. (PI)

ARTSTUDI 252: Sculpture II

Builds upon 151. Installation and non-studio pieces. Impact of material and technique upon form and content; the physical and expressive possibilities of diverse materials. Historical and contemporary forming methods provide a theoretical basis for the studio work. Field trips; guest lecturers. (upper level)
Terms: Aut, Win | Units: 4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)

ARTSTUDI 254: Kinetic Sculpture

This course is focused on developing a practical, hands on understanding of kinetic mechanisms applied to objects and materials in sculpture and installation. Class time will take the form of lectures and technical demos, and hands-on labs where you will be exposed to different strategies for making movement in the physical world. Topics investigated include Rube Goldberg machines, devices of wonder, interactivity, audience experience and participation.
Last offered: Autumn 2019 | Units: 3-4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)

ARTSTUDI 258: Resisting Monuments at the End of the World

This hands-on contemporary art and sculpture class explores falling monuments and rising memorials around the world. Departing from individualistic hero narratives of traditional monuments we address collective agency and new forms of shared power. Students make models and sculptures of reimagined anti-monuments through weekly assignments. Classes require reading, discussing, making artwork for critiques, and include lectures, artist examples, and guest artists.
Last offered: Winter 2022 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 262: Performing with Digital Media

This interdisciplinary studio course will explore time-based media through the practice of live visual performance with an emphasis on digital means of production. Through a series of individual and collaborative assignments, students will learn to utilize software and sensors as a means of controlling and manipulating moving imagery in a performative context. Art historical references of animation, video art, installation, and audio/visual performance will guide conceptual frameworks for class instruction, lectures, and projects. No previous experience is required.
Last offered: Winter 2020 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 266: Sculptural Screens / Malleable Media (ARTSTUDI 166)

In this mixed intro and upper level studio course, students will experiment with video and computational outputs embedded in physical scenarios. What new physical formats are made possible by contemporary screen and projection-mapping technologies? How can we make expressive use of LCD screens, pico projectors, i-pad arrays, and LEDs? The class will address the screen as sculptural medium by examining established artists like Nam June Paik, Michael Snow, Tony Oursler, and Pippilotti Rist, as well as exploring emerging contemporary artists tackling this medium. Prerequisites to take the class at the 266 upper level include one of the following: Intro to Digital/Physical Design, Embodied Interfaces, Media Archaeologies, Making it with Arduino, Digital Art 1, Electronic Art or permission of instructor. The intro level 166 course can be taken with no prerequisites.
Last offered: Spring 2021 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 267: Emerging Technology Studio

This course is an upper level studio course featuring a different guest artist each year whose artwork makes use of emerging technologies. Course material will be based on the guest artist's area of expertise. Past examples include artists whose work focuses on Data Visualization, Live Digital Performance and Virtual Reality. Prerequisites are determined by the subject matter, and course enrollment is decided by the instructor on the first day of class. Please attend the first class for admission. For spring 2020, Emerging Technology Studio will be taught by Veronica Graham (www.vagraham.com) on the topic of ¿World Building - inside and outside of Virtual Reality¿. Each week the course will focus on a different aspect of building a world, with an emphasis on crafting narratives that connect the virtual environment with a physical space. Veronica Graham is a new media artist and printmaker whose work spans comics, sculpture, and VR artworks. Inspired by today's rapidly changing environment, she sees her art practice as a form of world building. Each of her works is the creation of place or artifact, calling attention to how fiction is woven into our reality.
Last offered: Spring 2020 | Units: 4 | UG Reqs: WAY-CE | Repeatable for credit

ARTSTUDI 270: Advanced Photography Seminar

Students interested in taking this class should apply with a project proposal they aim to develop over the length of the course. Since these projects require a considerable amount of independent work outside of class time, each student must submit a 1-to-2-page description outlining the subject they want to focus on, and a portfolio featuring some images of work they have already created in that realm. Upon careful evaluation, students with the strongest proposals will be selected. At the beginning of the course, all students will be provided with the necessary equipment and tools of support needed to execute their projects. The culmination of the course will be a carefully prepared final showing of work through different media - exhibition, print, virtual format - that each require their own specific lay-out and mode of presentation. This course may be repeated for credit.Prerequisite: ARTSTUDI 277 or equivalent.
Last offered: Spring 2019 | Units: 4 | UG Reqs: WAY-CE | Repeatable for credit

ARTSTUDI 270A: CREATING EXPERIMENTAL CINEMA

This course is dedicated to creating at the crossroads of art and cinema. This experimental video art course will address practical filmmaking, taking as its baseline assumption the notion that experimentation is crucial to overcoming encrusted social, aesthetic, intellectual, and ideological norms. Over the course of the quarter, students will build familiarity with the the myriad components of cinematic creation, including directing, editing, camera operation, lighting, sound design, After Effects and color grading. They will create cinematic video informed by viewing and discussion of key works from the history of experimental cinema.No prerequisite required.
Last offered: Spring 2021 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 271A: Intermediate Photography: On Queerness

In this studio course, we explore potentiality and experimentation in contemporary photography to challenge conventions, question definitions, and expand meanings. We approach photography as a strategic tool to subvert, intervene, resist, and bridge dichotomies, while moving beyond general categorizations of body, gender, and identity through an intersectional lens. Students examine queerness within the historical and current expanded field of representation to amplify notions of self, community, and action. This is an intermediate course in photography, with an ongoing emphasis on operating manual camera settings (focus, aperture, shutter speed, ISO, color temp/ white balance). Students continue to work with Lightroom as a file management system, are introduced to Photoshop, and focus on the importance of photo editing/selection and sequencing. Students provide their own (SLR or Mirrorless) camera; software will be provided. Prerequisite: ARTSTUDI 170 or ARTSTUDI 171 or ARTSTUDI 173E or equivalent.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Hellu, J. (PI)

ARTSTUDI 271B: Intermediate Photography: Composite and Time

This course introduces students to the use of several techniques and methodologies that combine multiple images into a single composite photograph. Students develop skills to pre-visualize and plan the work they envision through high definition range capture, panoramic stitching, and focus stacking. They explore the nature and concept of Time in photographic imagery through various techniques, such as creating more than one timescale into an image, `recreating¿ one time in another, building the representation of time into a work, and visualizing passing time in the process of making work. This is an intermediate course in photography, with an ongoing emphasis on operating manual camera settings (focus, aperture, shutter speed, ISO, color temp/ white balance). Students continue to work with Lightroom as a file management system, are introduced to Photoshop, and focus on the importance of photo editing/selection and sequencing. Prerequisite: ARTSTUDI 170 or ARTSTUDI 171 or ARTSTUDI 173E or equivalent.
Last offered: Autumn 2020 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 271C: Intermediate Photography: Performance

This course introduces students to the role performance can play in a lens-based practice, centered in the belief that art can be defined through gesture as well as object. We study the work of various prominent artists to gauge their influence and to deepen our understanding of the ways in which photography can constitute performance as a conceptual exercise. Assignments and projects guide us to consider the relationship between body and lens, action and documentation, motion and stillness. This is an intermediate course in photography, with an ongoing emphasis on operating manual camera settings (focus, aperture, shutter speed, ISO, color temp/ white balance). Students continue to work with Lightroom as a file management system, are introduced to Photoshop, and focus on the importance of photo editing/selection and sequencing. Prerequisite: ARTSTUDI 170 or ARTSTUDI 171 or ARTSTUDI 173E or equivalent.
Last offered: Autumn 2020 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 271D: Intermediate Photography: Constructed Image

This course begins with the idea that all photographs are constructed. Students explore conceptual photographic practices through the frame of images as constructs, examining the various choices and expanded practices involved in the process of creating a photograph. Students are introduced to contemporary topics, historical positions, and examinations of various studio practices. Students examine different means of constructing representations of reality, building images and building spaces, within systems of making. This is an intermediate course in photography, with an ongoing emphasis on operating manual camera settings (focus, aperture, shutter speed, ISO, color temp/ white balance). Students continue to work with Lightroom as a file management system, are introduced to Photoshop, and focus on the importance of photo editing/selection and sequencing. Prerequisite: ARTSTUDI 170 or ARTSTUDI 171 or ARTSTUDI 173E or equivalent.
Last offered: Winter 2021 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 271F: Intermediate Photography: DIY Publishing

The book has been a form to share photographs since the medium's earliest days, offering photographers a way to present their work outside of exhibitions. Developments in digital technology have democratized access to print production, leading to a proliferation of small and independent presses, and generating self-publishing opportunities for artists. In this course, students will explore a variety of book formats, focusing on the relationship between image and text, and learning about do-it-yourself methods for publishing. They will engage with and draw inspiration from historical and contemporary renditions of the photo book. The skills they acquire will be applied toward the conceptualization, design, production and distribution of their own book projects, as well as the collaborative creation of a class publication.This is an intermediate course in photography, with an ongoing emphasis on operating manual camera settings (focus, aperture, shutter speed, ISO, color temp/ white balance). Students continue to work with Adobe Lightroom as a file management system, are introduced to Adobe InDesign, and focus on the importance of photo editing/selection and sequencing. Students provide their own camera (SLR or mirrorless).
Terms: Spr | Units: 4 | UG Reqs: WAY-CE
Instructors: ; porras, t. (PI)

ARTSTUDI 275: Photography II: Digital

Students continue to use DLSR cameras, with an ongoing emphasis on operating manual settings (focus, aperture, shutter speed, ISO, color temp/ white balance). They are taught intermediate-level digital printing (in color) using large-format printers. They continue to work with Lightroom as a file management system and are introduced to Photoshop. Students gain a deeper insight into and stronger grasp of practices in contemporary digital photography, with a continuing focus on the importance of photo editing/selection and sequencing, as well as questions around the conceptual and practical implications and limits of photographic images. Prerequisite: ARTSTUDI 171 or equivalent. May be repeat for credit
Last offered: Spring 2020 | Units: 4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)

ARTSTUDI 277: Intermediate Photography Seminar

This is a mentorship class designed to expand on personal projects in photography. Students engage in professional photographic practices that prepare them to apply and expand upon the skills, methods and techniques they have learned in previous courses. They explore different themes in photography and take an in-depth look at the creative process of artists whose visions are based on the development of projects and bodies of work over an extended period of time. Students learn to refine their aesthetic over time by developing such projects of their own, which involve significant independent work and active participation in critiques, with the goal of becoming adept at presenting their ideas and building a portfolio to show their work in a professional context. Students will be provided with software and introduced to tools of support that will help them to more effectively execute their projects.
Last offered: Autumn 2021 | Units: 4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)

ARTSTUDI 277A: Advanced Video

Video, criticism, and contemporary media theory investigating the time image. Students create experimental video works, addressing the integration of video with traditional art media such as sculpture and painting. Non-linearity made possible by Internet and DVD-based video. No prerequisite required.
Last offered: Spring 2022 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 280: Media Art in the Age of Surveillance (ARTSTUDI 180)

How can media art practices effectively interrogate our data environment? This studio course investigates systems that collect personal data, such as video and consumer databases, by turning their regulatory, contractual and legislative frameworks onto the systems themselves. Techniques include the `legal readymade', `tactical fiction', and algorithmically-driven discourse. A field trip will introduce drone mapping and choreographing. Assignments include individual projects, and class collaboration on a video that assembles our various approaches into a hybrid fiction-documentary. No prerequisites; basic video skills helpful.
Last offered: Autumn 2021 | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 286: Intermediate Photography: Portraiture

This course explores contemporary practices of portrait photography, examining its history and discourse on representations of race, gender, class, and sexuality. We look at the complexities of portraiture in terms of skill sets and processes, aesthetics and styles, ideology and identity, while engaging with such dualities as private/public, professional/amateur, and traditional/innovative. At a time when pictures are being produced and disseminated in unprecedented proliferation, we look into the pursuit of constructing meaning beyond pose and persona. This is an intermediate course in photography, with an ongoing emphasis on operating manual camera settings (focus, aperture, shutter speed, ISO, color temp/ white balance). Students continue to work with Lightroom as a file management system, are introduced to Photoshop, and focus on the importance of photo editing/selection and sequencing. Prerequisite: ARTSTUDI 170 or ARTSTUDI 171 or ARTSTUDI 173E or equivalent.
Terms: Win | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Hellu, J. (PI)

ARTSTUDI 288: Intermediate Photography: Documentary

The documentary image has constituted a keystone of the photographic medium since the earliest days of its existence. In this class, we approach documentary photography from a contemporary perspective and in a context of active engagement with the world we inhabit. What do the ethics and aesthetics of documenting reality involve in an era when the instant representation of ourselves and our environment has become routine daily procedure? How can today's visual documentarian meet the challenge of creating work that meaningfully and critically relates to the complex global issues and struggles defining the current historical moment? This is an intermediate course in photography, with an ongoing emphasis on operating manual camera settings (focus, aperture, shutter speed, ISO, color temp/ white balance). Students continue to work with Lightroom as a file management system, are introduced to Photoshop, and focus on the importance of photo editing/selection and sequencing. Prerequisite: ARTSTUDI 170 or ARTSTUDI 171 or ARTSTUDI 173E or equivalent.
Terms: Win | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Calm, J. (PI)

ASNAMST 91A: Asian American Autobiography/W (AMSTUD 91A, CSRE 91D, ENGLISH 91A)

This is a dual purpose class: a writing workshop in which you will generate autobiographical vignettes/essays as well as a reading seminar featuring prose from a wide range of contemporary Asian-American writers. Some of the many questions we will consider are: What exactly is Asian-American memoir? Are there salient subjects and tropes that define the literature? And in what ways do our writerly interactions both resistant and assimilative with a predominantly non-Asian context in turn recreate that context? We'll be working/experimenting with various modes of telling, including personal essay, the epistolary form, verse, and even fictional scenarios. First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Terms: Win | Units: 5 | UG Reqs: WAY-CE, WAY-EDP
Instructors: ; Lee, C. (PI)

ASNAMST 131: Trauma, Healing, and Empowerment in Asian America (CSRE 131)

In these perilous times we need places of refuge where we can affirm our humanity and renew our commitment to social justice. Using historical and collective trauma of Asian Americans as a focus, we illuminate our current struggles to find meaning and balance in the face of anti-Asian violence. In a beloved community we gently witness and touch our wounds, finding healing and empowerment. Women elders lead us in healing practices that are experiential, embodied, and creative expression. Our practices are based in Heartfulness, mindfulness, compassion, and responsibility. This self-reflective process uses narrative, oral and written, as a way of becoming whole, healing wounds of home, community, roots, and identity.
Last offered: Spring 2022 | Units: 3-5 | UG Reqs: WAY-CE, WAY-EDP

ASNAMST 144: Transforming Self and Systems: Crossing Borders of Race, Nation, Gender, Sexuality, and Class (CSRE 144, FEMGEN 144X, LIFE 144)

Exploration of crossing borders within ourselves, and between us and them, based on a belief that understanding the self leads to understanding others. How personal identity struggles have meaning beyond the individual, how self healing can lead to community healing, how the personal is political, and how artistic self expression based in self understanding can address social issues. The tensions of victimization and agency, contemplation and action, humanities and science, embracing knowledge that comes from the heart as well as the mind. Studies are founded in synergistic consciousness as movement toward meaning, balance, connectedness, and wholeness. Engaging these questions through group process, journaling, reading, drama, creative writing, and storytelling. Study is academic and self-reflective, with an emphasis on developing and presenting creative works in various media that express identity development across borders.
Last offered: Winter 2022 | Units: 5 | UG Reqs: WAY-CE, WAY-EDP

ASNAMST 191: Sharing Conversations Across Generations: The Magic of Haiku (JAPAN 191, JAPAN 291)

This course explores what communicative practices can enhance the inclusion of persons living in different life stages in a community. We consider how verbal or non-verbal interactions can contribute to transforming society into one in which marginalized persons such as older adults (possibly living with compromised cognitive conditions) can be integrated as citizens of the community. A primary focus is on the role of creative verbal arts in fostering cross-generational understanding, in particular, creating the short Japanese poetic form, haiku. As part of community-engaged learning, students will experience and examine how activities based on creative verbal arts, along with conversations that emerge during such activities, can promote self-expression and meaningful intergenerational connections. As a community-engaged learning course, students will learn through engaging in activities with persons in local communities. The service-learning component will entail participation in a haiku-making activity with older adults in local adult day services facilities and assisted living residences to consider how to create a more age-inclusive society through working with local communities, and to become effective citizens in today's diverse society. This course is open to undergraduate students, graduate students, and medical school students. Students can take the course for 3-5 units. Students enrolled in the full 5 units will complete the service-learning component described above along with the core component of the course. Students enrolled for 3 units do not need to complete the service-learning component. Cardinal Course certified by the Haas Center for Public Service.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-CE, WAY-EDP

BIO 7N: Conservation Photography

Introduction to the field of conservation photography and the strategic use of visual communication in addressing issues concerning the environment and conservation. Students will be introduced to basic digital photography, digital image processing, and the theory and application of photographic techniques. Case studies of conservation issues will be examined through photographs and multimedia platforms including images, video, and audio. Lectures, tutorials, demonstrations, and optional field trips will culminate in the production of individual and group projects. Cardinal Course certified by the Haas Center for Public Service.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: ; McConnell, S. (PI)

BIO 53: Conservation Photography

Introduction to the field of conservation photography and the strategic use of visual communication in addressing issues concerning the environment and conservation. Students will be introduced to basic digital photography, digital image processing, and the theory and application of photographic techniques. Case studies of conservation issues will be examined through photographs and multimedia platforms including images, video, and audio. Lectures, tutorials, demonstrations, and optional field trips will culminate in the production of individual and group projects. Cardinal Course certified by the Haas Center for Public Service. This course is identical to Bio 7N, so students enrolled in the former should not take this course. Open to undergraduates and graduate students. Students must have access to a DSLR camera and lenses - we can accept up to 20 students who can share 10 course-provided cameras and lenses, by application. Application for camera use: https://forms.gle/1yAD3my8GoDseXw59.
Last offered: Winter 2023 | Units: 3 | UG Reqs: WAY-CE

BIO 140: The Science of Extreme Life of the Sea (OCEANS 141H)

Covers the way marine animals and plants live in extreme environments by examining morphological, ecological, and genetic adaptations to low temperature, high heat, deep water, etc. We also cover extreme lifestyles such as fast swimming, small and large body size, and novel reproductive systems. Lecture material is punctuated with a series of tutorials on narrative writing skills in science, especially creative non-fiction, memoirs, braided essays and short fiction. The goal is to integrate quantitative thinking about the life sciences with creative writing that brings facts to life. Prerequisites: core courses in biology, creative writing, environmental sciences or engineering. Course taught in-person only at Hopkins Marine Station. For information about how to spend spring quarter in residence in Monterey: https://hopkinsmarinestation.stanford.edu/undergraduate-studies/spring-courses-23-24. Individual course registration also permitted; no application required. Depending on enrollment numbers, a weekly shuttle to Hopkins or mileage reimbursements for qualifying carpools will be provided; terms and conditions apply.
Last offered: Spring 2022 | Units: 3 | UG Reqs: WAY-CE

BIO 196B: Biology Senior Reflection

Capstone course series for seniors. Creative, self-reflective and scientifically relevant projects conceived, produced and exhibited over the course of three quarters. Explore scientific content of personal interest through creative forms including but not limited to writing, music, fine arts, performing arts, photography, film or new media. A written essay on the creative process and scientific significance of the selected topic will accompany the creative work. Completed projects may be included in a creative portfolio. Required enrollment in 196A,B,C. May be repeat for credit. More information can be found at visit https://web.stanford.edu/~suemcc/TSR/.
Terms: Win | Units: 3 | UG Reqs: WAY-CE | Repeatable 2 times (up to 6 units total)

BIO 196C: Biology Senior Reflection

Capstone course series for seniors. Creative, self-reflective and scientifically relevant projects conceived, produced and exhibited over the course of three quarters. Explore scientific content of personal interest through creative forms including but not limited to writing, music, fine arts, performing arts, photography, film or new media. A written essay on the creative process and scientific significance of the selected topic will accompany the creative work. Completed projects may be included in a creative portfolio. Required enrollment in 196A,B,C. May be repeat for credit. More information can be found at visit https://web.stanford.edu/~suemcc/TSR/.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE | Repeatable 2 times (up to 6 units total)

BIOE 70Q: Medical Device Innovation

BIOE 70Q invites students to apply design thinking to the creation of healthcare technologies. Students will learn about the variety of factors that shape healthcare innovation, and through hands-on design projects, invent their own solutions to clinical needs. Guest instructors will include engineers, doctors, entrepreneurs, and others who have helped bring ideas from concept to clinical use.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE

CEE 31: Accessing Architecture Through Drawing

Preference to Architectural Design and CEE majors; others by consent of instructor. Drawing architecture to probe the intricacies and subtleties that characterize contemporary buildings. How to dissect buildings and appreciate the formal elements of a building, including scale, shape, proportion, colors and materials, and the problem solving reflected in the design. Students construct conventional architectural drawings, such as plans, elevations, and perspectives. Limited enrollment.
Last offered: Winter 2023 | Units: 5 | UG Reqs: GER:DB-EngrAppSci, WAY-CE

CEE 31Q: Accessing Architecture Through Drawing

Preference to sophomores. Drawing architecture provides a deeper understanding of the intricacies and subtleties that characterize contemporary buildings. How to dissect buildings and appreciate the formal elements of a building, including scale, shape, proportion, colors and materials, and the problem solving reflected in the design. Students construct conventional architectural drawings, such as plans, elevations, and perspectives. Limited enrollment.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-EngrAppSci, WAY-CE

CEE 32A: Psychology of Architecture

This course argues that architecture often neglects the interdisciplinary investigation of our internal psychological experience and the way it impacts our creation of space. How does our inner life influence external design? How are we impacted emotionally, physically, psychologically by the spaces we inhabit day to day? How might we intentionally imbue personal and public spaces with specific emotions? This seminar serves as a call to action for students interested in approaching architecture with a holistic understanding of the emotional impact of space. Sample topics addressed will include: conscious vs. unconscious design; the ego of architecture; psycho-spatial perspectives; ideas of home; integral/holistic architecture; phenomenology of inner and outer spaces; exploring archetypal architecture; and translating emotion through environment.
Last offered: Winter 2022 | Units: 3 | UG Reqs: WAY-A-II, WAY-CE

CEE 32H: Responsive Structures (CEE 132H)

This Design Build seminar investigates the use of metal as a structural, spatial and organizational medium. We will examine the physical properties of post-formable plywood, and develop a structural system and design which respond to site and programmatic conditions. The process includes model building, prototyping, development of joinery, and culminates in the full scale installation of the developed design on campus. This course may be repeated for credit (up to three times). Class meeting days/times are as follows:nSession 1: May 20, Friday, 5pm-8pmnSaturday, May 21, 9am-5pmnSession 2: Sunday, May 22, 10am-5pm
Terms: Spr | Units: 3 | UG Reqs: WAY-CE | Repeatable 2 times (up to 6 units total)

CEE 131D: Urban Design Studio (URBANST 171)

The practical application of urban design theory. Projects focus on designing neighborhood and downtown regions to balance livability, revitalization, population growth, and historic preservation.
Terms: Spr | Units: 5 | UG Reqs: WAY-CE

CEE 131E: Team Urban Design Studio (URBANST 183)

This new class offers an exciting variation on the 'individual project' studio format. Students work as a team to propose a single consensus solution to a real-world design challenge. This collaborative studio experience more closely reflects the creative process in the design and planning professions where a group of individuals works together to brainstorm, shape, develop, and illustrate a community design solution. There are a number of benefits to this team-oriented approach: it is a more nurturing environment for students that do not have design backgrounds, it allows for more peer-to-peer learning, and it takes best advantage of varied student skill sets. But perhaps the greatest benefit is that a team of students working together on a common project will be able to develop a more comprehensive solution than any one student working alone. This means that the class "deliverable" at the end of quarter could be detailed enough to be of significant value to a stakeholder or client group from the larger community. This studio class, working under the guidance of an experienced instructor, functions like a design firm in providing professional-grade deliverables to real-world community design "clients'.
Terms: Spr | Units: 5 | UG Reqs: WAY-CE

CEE 133H: Painting: Architecture in the Environment

This five-week course engages students in deconstructing architectural structures in relation to the environment by way of observational painting with acrylics. Through on location painting and studio sessions, students build creative capacities and develop critical thinking skills as we focus on the fundamentals of painting, discuss precedents from art and architectural history, and engage in constructive group critiques. Color theory, as it relates to value and applies to light on form and material, is examined and put into practice as students mix paint and explore a variety of techniques. Volume is a major component as we apply principles of proportion, perspective, and depth to convincingly articulate spatial relationships. Composition and design principles are investigated throughout the painting process, from preparatory graphite sketches through project completion. Active painting is enhanced by focused exercises, demonstrations, slide lectures, readings, and museum visits, all which facilitate a deeper understanding of architecture via painting. (Note: this course meets for only 5 weeks: Jan 8 - Feb 7, 2019)
Last offered: Winter 2020 | Units: 3 | UG Reqs: WAY-CE

CHEMENG 12SC: An Exploration of Art Materials: The Intersection of Art and Science

There is growing interest in the intersection of art and science, whether from artists adapting technology to suit their visions or from scientists and engineers seeking to explain various visual effects. To take advantage of possible creative sparks at the art/science interface, it is necessary for fuzzies and techies to have some knowledge of the language used by the other side. This interface will be explored through examining approaches used by an artist and an engineer in the context of the materials science of cultural objects. In-class lectures, hands-on studio practice, and field trips will be used to illustrate these different perspectives. At the heart of the scientific approach is the notion that a cultural object, e.g., a painting, is a physical entity comprising materials with different physical properties and different responses to environmental stresses presented by light, heat, and water. In support of this outlook, in-class lectures and discussions will focus on the basic concepts of color, optics, mechanics, composite structures, and response of the object to environmental stress, and we will visit Bay Area museums to see how artists employ such techniques. The hands-on studio experience is designed to increase students' confidence and develop their appreciation of differences in materials. It is not necessary to have any artistic training, only a willingness to experiment. The in-class studio projects will include working with line and shadow; color, binders, and mordants; global sources of pigments; substrates and writing; and material failure. Students will make one technical presentation on a topic in one of the five areas relevant to a painting: color, optics, mechanics, composites, and stress response. In addition, they will prepare one essay on the issues surrounding the intersection of art and science. Finally, they will complete a project related to one of the thematic areas covered in the hands-on studio sessions and make a final oral presentation describing their project.
Terms: Sum | Units: 2 | UG Reqs: WAY-CE

CLASSICS 16N: Sappho: Erotic Poetess of Lesbos (FEMGEN 24N)

Preference to freshmen. Sappho's surviving fragments in English; traditions referring to or fantasizing about her disputed life. How her poetry and legend inspired women authors and male poets such as Swinburne, Baudelaire, and Pound. Paintings inspired by Sappho in ancient and modern times, and composers who put her poetry to music.
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-CE, WAY-EDP
Instructors: ; Peponi, A. (PI)

CLASSICS 19N: Eloquence Personified: How To Speak Like Cicero

This course is an introduction to Roman rhetoric, Cicero's Rome, and the active practice of speaking well. Participants read a short rhetorical treatise by Cicero, analyze one of his speeches as well as more recent ones by, e.g., Kennedy, Martin Luther King Jr., and Obama, and watch their oratorical performances. During the remainder of the term they practice rhetoric, prepare and deliver in class two (short) speeches, and write an essay.
Last offered: Winter 2023 | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE

COMM 104W: Reporting, Writing, and Understanding the News

Techniques of news reporting and writing. The value and role of news in democratic societies. Gateway class to journalism. Prerequisite for all COMM 177/277 classes. Limited enrollment. Preference to COMM majors.
Terms: Aut, Win, Spr | Units: 5 | UG Reqs: WAY-CE

COMM 176: Advanced Digital Journalism Production (COMM 276)

(Graduate students register for 276. COMM 176 is offered for 5 units, COMM 276 is offered for 4 units.) In-depth reporting and production using audio, images and video. Focus on an in-depth journalism project with appropriate uses of digital media: audio, photography, graphics, and video. Topics include advanced field techniques and approaches (audio, video, still) and emphasis on creating a non-fiction narrative arc in a multimedia piece of 10-12 minutes. Comm 104 or some reporting experience OR audio/video production experience. Contact instructor: jrnicol@stanford.edu
Terms: Win | Units: 4-5 | UG Reqs: WAY-CE
Instructors: ; Nicol, J. (PI)

COMM 177D: Specialized Writing and Reporting: Narrative Journalism (COMM 277D)

(Graduate students register for COMM 277D. COMM 177D is offered for 5 units, COMM 277D is offered for 4 units.) How to report, write, edit, and read long-form narrative nonfiction, whether for magazines, news sites or online venues. Tools and templates of story telling such as scenes, characters, dialogue, and narrative arc. How the best long-form narrative stories defy or subvert conventional wisdom and bring fresh light to the human experience through reporting, writing, and moral passion. Prerequisite: 104 or consent of instructor.
Terms: Spr | Units: 4-5 | UG Reqs: WAY-CE
Instructors: ; Brenner, R. (PI)

COMM 177SW: Specialized Writing and Reporting: Sports Journalism (COMM 277S)

(Graduate students register for COMM 277S. COMM 177SW is offered for 5 units, COMM 177S is offered for 4 units.) Workshop. An examination of American sports writing from the 1920's Golden Age of Sports to present. Students become practitioners of the sports writing craft in an intensive laboratory. Hones journalistic skills such as specialized reporting, interviewing, deadline writing, creation of video projects, and conceptualizing and developing stories for print and online.
Terms: Spr | Units: 4-5 | UG Reqs: WAY-CE
Instructors: ; Pomerantz, G. (PI)

COMM 177Y: Specialized Writing and Reporting: Foreign Correspondence (COMM 277Y)

(Graduate students register for COMM 277Y. COMM 177Y is offered for 5 units, COMM 277Y is offered for 4 units.) Study how being a foreign correspondent has evolved and blend new communication tools with clear narrative to tell stories from abroad in a way that engages a diversifying American audience in the digital age. Prerequisite: COMM 104W, COMM 279, or consent of instructor.
Terms: Spr | Units: 4-5 | UG Reqs: WAY-CE, WAY-SI
Instructors: ; Zacharia, J. (PI)

COMPLIT 111Q: Texts and Contexts: Spanish/English Literary Translation Workshop (DLCL 111Q, ILAC 111Q)

The Argentinian writer and translator, Jorge Luis Borges, once said, 'Cada idioma es un modo de sentir el universo.' How are modes of feeling and perception translated across languages? How does the historical context of a work condition its translation into and out of a language? In this course, you will translate from a variety of genres that will teach you the practical skills necessary to translate literary texts from Spanish to English and English to Spanish. By the end of the term, you will have translated and received feedback on a project of your own choosing. Discussion topics may include: the importance of register, tone, and audience; the gains, in addition to the losses, that translations may introduce; the role of ideological, social-political, and aesthetic factors on the production of translations; and comparative syntaxes, morphologies, and semantic systems. Preference will be given to sophomores but freshman through seniors have enjoyed this course in the past. Course taught in Spanish.
Last offered: Winter 2023 | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

COMPLIT 127B: The Hebrew and Jewish Short Story (JEWISHST 147B)

Short stories from Israel, the US and Europe including works by Agnon, Kafka, Keret, Castel-Bloom, Kashua, Singer, Benjamin, Freud, biblical myths and more. The class will engage with questions related to the short story as a literary form and the history of the short story. Reading and discussion in English. Note: To be eligible for WAYS credit, you must take the course for a Letter Grade.
Last offered: Winter 2023 | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

COMPLIT 176: Forms of Poetry at Home and Abroad: A Workshop (ILAC 176)

Poets have long relied on formal structures to write into surprise and wonder. We know of structures such as the sonnet and the sestina, but what about the corrido, ghazal, haiku, jintishi, landay, lira, l¿c b¿t, qa¿¿da, pantoum, romance, rondeau, sijo, than-bauk, and triolet? How might we reimagine poetic forms in English by looking to the past at home and abroad?In this poetry workshop, you will write an original poem each week. Assigned readings will illustrate the development of specific forms from language traditions around the world and the ways in which they've crossed into English-language poetry. Previous experience with creative writing not required.
Terms: Win | Units: 3-5 | UG Reqs: WAY-CE
Instructors: ; Santana, C. (PI)

COMPLIT 242: Poetry Workshop in Spanish (ILAC 242)

Latin American and Spanish poetry approached through elements of craft. Assignments are creative in nature and focus on the formal elements of poetry (meter, rhythm, lineation, rhetorical figures and tropes) and the exploration of lyric subgenres (e.g. ode, elegy, prose poem). Students write original poems throughout the quarter. No previous experience with creative writing is required. Course taught in Spanish. Enrollment limited.
Last offered: Winter 2023 | Units: 3-5 | UG Reqs: WAY-CE

COMPLIT 285: Texts and Contexts: French-English Translation (CSRE 285, FRENCH 185, FRENCH 285)

This course introduces students to the ways in which translation has shaped the image of France and the Francophone world. What texts and concepts were translated, how, where, and to what effect? Students will work on a translation project throughout the quarter and translate texts from French to English and English to French. Topics may include the role of translation in the development of cultures; the political dimension of translation, translation in the context of migration, and the socio-cultural frameworks that shape translations. Case studies: Camus, Chamoiseau, Djebar, Fanon, Sow Fall, Proust. Prior knowledge of French language required.
Last offered: Winter 2021 | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

COMPLIT 293: Literary Translation: Theory and Practice (DLCL 293, ENGLISH 293)

An overview of translation theories and practices over time. The aesthetic, ethical, and political questions raised by the act and art of translation and how these pertain to the translator's tasks. Discussion of particular translation challenges and the decision processes taken to address these issues. Coursework includes assigned theoretical readings, comparative translations, and the undertaking of an individual translation project.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Santana, C. (PI)

CS 83N: Playback Theater

Playback combines elements of theater, community work and storytelling. In a playback show, a group of actors and musicians create an improvised performance based on the audience's personal stories. A playback show brings about a powerful listening and sharing experience. During the course, we will tell, listen, play together, and train in playback techniques. We will write diaries to process our experience in the context of education and research. The course is aimed to strengthen listening abilities, creativity and the collaborative spirit, all integral parts of doing great science. In playback, as in research, we are always moving together, from the known, to the unknown, and back. There is limited enrollment for this class. Application is required.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Reingold, O. (PI)

CS 148: Introduction to Computer Graphics and Imaging

This is the introductory prerequisite course in the computer graphics sequence which introduces students to the technical concepts behind creating synthetic computer generated images. The beginning of the course focuses on using Blender to create visual imagery, as well as an understanding of the underlying mathematical concepts including triangles, normals, interpolation, texture mapping, bump mapping, etc. Then we move on to a more fundamental understanding of light and color, as well as how it impacts computer displays and printers. From this we discuss more thoroughly how light interacts with the environment, and we construct engineering models such as the BRDF and discuss various simplifications into more basic lighting and shading models. Finally, we discuss ray tracing technology for creating virtual images, while drawing parallels between ray tracers and real world cameras in order to illustrate various concepts. Anti-aliasing and acceleration structures are also discussed. The final class project consists of building out a ray tracer to create a visually compelling image. Starter codes and code bits will be provided here and there to aid in development, but this class focuses on what you can do with the code as opposed to what the code itself looks like. Therefore grading is weighted towards in person "demos" of the code in action - creativity and the production of impressive visual imagery are highly encouraged.This is the first course in the computer graphics sequence at Stanford. Topics include: Scanline Rendering; Triangles; Rasterization; Transformations; Shading; Triangle Meshes; Subdivision; Marching Cubes; Textures; Light; Color; Cameras; Displays; Tone Mapping; BRDF; Lighting Equation; Global Illumination; Radiosity; Ray Tracing; Acceleration Structures; Sampling; Antialiasing; Reflection; Transmission; Depth of Field; Motion Blur; Monte Carlo; Bidirectional Ray Tracing; Light Maps.
Terms: Aut | Units: 3-4 | UG Reqs: GER:DB-EngrAppSci, WAY-CE

CS 170: Stanford Laptop Orchestra: Composition, Coding, and Performance (MUSIC 128)

Classroom instantiation of the Stanford Laptop Orchestra (SLOrk) which includes public performances. An ensemble of more than 20 humans, laptops, controllers, and special speaker arrays designed to provide each computer-mediated instrument with its sonic identity and presence. Topics and activities include issues of composing for laptop orchestras, instrument design, sound synthesis, programming, and live performance. May be repeated four times for credit. Space is limited; see https://ccrma.stanford.edu/courses/128 for information about the application and enrollment process. May be repeat for credit
Terms: Spr | Units: 1-5 | UG Reqs: WAY-CE | Repeatable 4 times (up to 20 units total)

CSRE 91B: Telling Your Story as Counterstory: The Rhetoric of Critical Race Theory (PWR 91HT)

Critical Race Theory (CRT), developed by legal scholars in the 1970s, proposes that marginalized folk use their own stories to reframe discussions about racism, particularly through a creative practice called counterstory. This course will take a deep dive into counterstory as a creative form of resistance and intercultural communication. Students will develop the skills to respond to a stock story with counterstory and participate in an online collective project. Students will also produce an e-portfolio.
Last offered: Autumn 2021 | Units: 4 | UG Reqs: WAY-CE, WAY-EDP

CSRE 91D: Asian American Autobiography/W (AMSTUD 91A, ASNAMST 91A, ENGLISH 91A)

This is a dual purpose class: a writing workshop in which you will generate autobiographical vignettes/essays as well as a reading seminar featuring prose from a wide range of contemporary Asian-American writers. Some of the many questions we will consider are: What exactly is Asian-American memoir? Are there salient subjects and tropes that define the literature? And in what ways do our writerly interactions both resistant and assimilative with a predominantly non-Asian context in turn recreate that context? We'll be working/experimenting with various modes of telling, including personal essay, the epistolary form, verse, and even fictional scenarios. First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Last offered: Winter 2020 | Units: 5 | UG Reqs: WAY-CE, WAY-EDP

CSRE 91RW: Ethnofuturist Rhetorics: Imagining the Future of Race (PWR 91RW)

In this project-based course, we will explore ethnofuturism, a rhetorical movement to imagine the future of race relations in our society. We will engage with and analyze various narrative forms (such as films, stories, comics, virtual reality projects, and science writing) produced by authors, artists, and creatives like W. E. B. Du Bois, Derrick Bell, Octavia Butler, Ken Liu, Bao Phi, Wenuri Kahiu, Lisa Jackson, Grace Dillon, Marjorie Liu, and Sana Takeda. Our goal will be to explore how these narratives envision the future consequences of existing racial systems and imagine alternative possibilities for societal race relations. For a full course description visit https://pwrcourses.stanford.edu/pwr-91rw-ethnofuturist-rhetorics-imagining-future-race
Terms: Aut | Units: 3 | UG Reqs: WAY-CE, WAY-EDP
Instructors: ; Wolfson, R. (PI)

CSRE 131: Trauma, Healing, and Empowerment in Asian America (ASNAMST 131)

In these perilous times we need places of refuge where we can affirm our humanity and renew our commitment to social justice. Using historical and collective trauma of Asian Americans as a focus, we illuminate our current struggles to find meaning and balance in the face of anti-Asian violence. In a beloved community we gently witness and touch our wounds, finding healing and empowerment. Women elders lead us in healing practices that are experiential, embodied, and creative expression. Our practices are based in Heartfulness, mindfulness, compassion, and responsibility. This self-reflective process uses narrative, oral and written, as a way of becoming whole, healing wounds of home, community, roots, and identity.
Last offered: Spring 2022 | Units: 3-5 | UG Reqs: WAY-CE, WAY-EDP

CSRE 141E: Counterstory in Literature and Education (EDUC 141, EDUC 341, LIFE 124)

Counterstory is a method developed in critical legal studies that emerges out of the broad "narrative turn" in the humanities and social science. This course explores the value of this turn, especially for marginalized communities, and the use of counterstory as analysis, critique, and self-expression. Using an interdisciplinary approach, we examine counterstory as it has developed in critical theory, critical pedagogy, and critical race theory literatures, and explore it as a framework for liberation, cultural work, and spiritual exploration.
Last offered: Spring 2022 | Units: 3 | UG Reqs: WAY-CE, WAY-EDP

CSRE 144: Transforming Self and Systems: Crossing Borders of Race, Nation, Gender, Sexuality, and Class (ASNAMST 144, FEMGEN 144X, LIFE 144)

Exploration of crossing borders within ourselves, and between us and them, based on a belief that understanding the self leads to understanding others. How personal identity struggles have meaning beyond the individual, how self healing can lead to community healing, how the personal is political, and how artistic self expression based in self understanding can address social issues. The tensions of victimization and agency, contemplation and action, humanities and science, embracing knowledge that comes from the heart as well as the mind. Studies are founded in synergistic consciousness as movement toward meaning, balance, connectedness, and wholeness. Engaging these questions through group process, journaling, reading, drama, creative writing, and storytelling. Study is academic and self-reflective, with an emphasis on developing and presenting creative works in various media that express identity development across borders.
Last offered: Winter 2022 | Units: 5 | UG Reqs: WAY-CE, WAY-EDP

CSRE 150G: Performing Race, Gender, and Sexuality (ARTSINST 150G, CSRE 350G, FEMGEN 150G, LIFE 150G, TAPS 150G)

In this theory and practice-based course, students will examine performances by and scholarly texts about artists who critically and mindfully engage race, gender, and sexuality. Students will cultivate their skills as artist-scholars through written assignments and the creation of performances in response to the assigned material. Attendance and written reflection about a live performance event on campus are required. Students will also learn various meditation practices as tools for making and critiquing performance, in both our seminar discussions and performance workshops. We will approach mindfulness as method and theory in our own practice, as well as in relation to the works studied. We will also consider the ethics and current debates concerning the mindfulness industry. Examples of artists studied include James Luna, Nao Bustamante, Renee Cox, William Pope.L, Cassils, boychild, Curious, Adrian Piper, Xandra Ibarra, Valérie Reding, Guillermo Gomez-Peña, and Ana Mendieta.
Last offered: Autumn 2022 | Units: 4 | UG Reqs: WAY-CE, WAY-EDP

CSRE 160J: Conjure Art 101: Performances of Ritual, Spirituality and Decolonial Black Feminist Magic (DANCE 160J)

Conjure Art is a movement and embodied practice course looking at the work and techniques of artists of color who utilize spirituality and ritual practices in their art making and performance work to evoke social change. In this course we will discuss the work of artists who bring spiritual ritual in their art making while addressing issues of spiritual accountability and cultural appropriation. Throughout the quarter we will welcome guest artists who make work along these lines, while exploring movement, writing, singing and visual art making. This class will culminate in a performance ritual co-created by students and instructor.
Last offered: Autumn 2021 | Units: 2 | UG Reqs: WAY-CE

CSRE 285: Texts and Contexts: French-English Translation (COMPLIT 285, FRENCH 185, FRENCH 285)

This course introduces students to the ways in which translation has shaped the image of France and the Francophone world. What texts and concepts were translated, how, where, and to what effect? Students will work on a translation project throughout the quarter and translate texts from French to English and English to French. Topics may include the role of translation in the development of cultures; the political dimension of translation, translation in the context of migration, and the socio-cultural frameworks that shape translations. Case studies: Camus, Chamoiseau, Djebar, Fanon, Sow Fall, Proust. Prior knowledge of French language required.
Last offered: Winter 2021 | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

DANCE 1: Contemporary Modern I: Liquid Flow

Students in Liquid Flow will participate in a dance and movement class that teaches the fundamentals of dance technique and addresses the way we already dance through the world. By discovering our own movement signatures, and becoming aware of other people's dance, motion, and energy in space, we will transform the way we inhabit flow states, from the dance studio, into everyday life, and ultimately onto the stage. Accompanied by a live DJ, students will develop technique, articulation, flexibility, and grace, to gain freedom while dancing, and mine dance's potential for social transformation and connection. We will draw from various movement traditions and practices, including contemporary modern, ballet, lyrical, Tai chi and yoga, with opportunities to remix other styles. Designed for all levels, we welcome beginners, student movers from diverse dance traditions, athletes, and advanced dancers, who desire more fluidity in their lives.
Terms: Aut, Win | Units: 1 | UG Reqs: WAY-CE, way_ce
Instructors: ; Hayes, A. (PI)

DANCE 27: Faculty Choreography

Collaborative building, rehearsal, filming and editing of unique Spring QTR dance films by TAPS/Dance Faculty choreographers. Culminating films will be screened May 27, 28 & 29, as a TAPS Main Stage production. Casting by Audition & Invitation according to the needs of each choreographer. For detailed project descriptions, casting requirements, and full rehearsal schedules, contact instructors directly. Choreography by Diane Frank (diane.frank.dance@gmail.com); Choreography by Aleta Hayes (ahayes1@stanford.edu): Choreography by Katie Faulkner (khfaulk@stanford.edu). Dancers from diverse dance and movement backgrounds are encouraged to participate. Once cast, enroll under the instructor's individual section for 1-2 units.
Last offered: Spring 2021 | Units: 1-2 | UG Reqs: WAY-CE, way_ce | Repeatable for credit

DANCE 30: Contemporary Choreography: Chocolate Heads 'Garden After Dark' Performance Project (AFRICAAM 37)

The Chocolate Heads Movement Band will engage in an interdisciplinary project-based course to develop collaborative choreography and installation art with visual and musical components. How can we attune our senses to perceive the subtleties of our surroundings? How can we learn to perceive the magic hiding in plain sight? The Autumn '23-'24 project will make use of remixing strategies, deep listening practices, and outdoor exploration to animate these questions in a multisensorial performance piece. We will cultivate an imaginary garden full of wild, surprising, and mysterious entities. Taking inspiration from landscape architecture, textiles, lighting, and projection design, we will bring the outside world in to create a dance and performance ecology. The course will feature collaborations with guest scientists, artists, and somatic practitioners. Our garden is open to all forms of creative expression and all levels of experience; we invite dancers, movers, and emerging creators of all styles and backgrounds. WEEK 1: TU 9/26--Introduction to the Project & CHs Band; THU 9/28--1st Audition Workshop. Contact Aleta Hayes (ahayes1@stanford.edu) for more information.
Terms: Aut | Units: 1-2 | UG Reqs: WAY-CE | Repeatable for credit
Instructors: ; Hayes, A. (PI)

DANCE 30S: Interdisciplinary Movement Lab: For Choreographers and Performance Makers

TAPS/Dance Lecturer and artistic director of the Chocolate Heads Movement Band, Aleta Hayes, and visiting guest artist from NYC, JoAnna Mendl Shaw, who will offer workshops throughout the quarter. Each student will explore choreographic strategies to create an original work by the end of the quarter. The choreographic perspectives offered will include: Hayes' collaborative making process, developed through The Chocolate Heads Movement Band, which draws upon a wide array of academic and physical disciplines to produce contemporary dance; and Mendl Shaw's interspecies lens, developed through The Equus Projects, which uses choreographic scoring to generate performance with dancers and horses. Mendl Shaw's Physical Listening honors our "embodied, physical intelligence" and seeks to enhance "our human capacity for multi-sensory awareness." At the end of the quarter, students will have the opportunity to audition to debut new works for the inaugural Young Choreographers Festival. We invite emerging creators and movement-makers from any and all performance backgrounds to take the course and bring their diverse styles into the choreographic space. All levels of experience are welcome. Contact Aleta Hayes (ahayes1@stanford.edu) for questions.
Terms: Win | Units: 2 | UG Reqs: WAY-CE | Repeatable 4 times (up to 8 units total)
Instructors: ; Hayes, A. (PI)

DANCE 45: Dance Improvisation from Freestyle to Hip Hop (AFRICAAM 45)

In this dance improvisation class, we will develop techniques and practices to cultivate an improvisational practice in dance and domains beyond. This class is an arena for physical and artistic exploration to fire the imagination of dance improvisers and to promote collaborative and interactive intelligence. We will draw upon dance styles and gestural vocabularies, including contemporary dance, hip-hop, vogue and more. Students will learn how to apply these improvisational dance ideas to generate and innovate across disciplines. Accompanied by a live DJ, students will practice listening with eyes, ears, and our whole bodies. Open to students from all dance, movement, and athletic backgrounds. Beginners welcome.
Last offered: Spring 2022 | Units: 1-2 | UG Reqs: WAY-CE | Repeatable for credit

DANCE 48: Ballet I: Introduction to Ballet

Fundametals of ballet technique including posture, placement, the foundation steps, and ballet terms; emphasis on the development of coordination, balance, flexibility, sense of lines, and sensitivity to rhythm and music. May be repeated for credit.
Terms: Aut, Win | Units: 1 | UG Reqs: WAY-CE, way_ce | Repeatable for credit
Instructors: ; Pankevich, A. (PI)

DANCE 50: Contemporary Choreography

Each day Ketley will develop a new phrase of choreography with the students and use this as the platform for investigation. Consistent lines of inquiry include; sculpting with the body as an emotional, instinctual, and graphic landscape, how the fracturing and the complication of strands of information can feel generative of new ways of moving, discussions around how our use of time is directly correlated to our sense of presence, and the multitude of physical colors available to each of us as artists as we expand our curiosity about movement. Classes will be very physical, trusting that much of our knowledge is contained in the body. For questions please e-mail aketley@stanford.edu.
Terms: Aut | Units: 1 | UG Reqs: WAY-CE, way_ce | Repeatable 2 times (up to 2 units total)
Instructors: ; Ketley, A. (PI)

DANCE 58: Hip Hop I: Introduction to Hip Hop

Steps and styling in one of America's 21st-century vernacular dance forms. May be repeated for credit.
Terms: Aut, Sum | Units: 1 | UG Reqs: WAY-CE, way_ce | Repeatable for credit
Instructors: ; Reddick, R. (PI)

DANCE 59: Hip-Hop II

Steps and styling in one of America's 21st-century vernacular dance forms. May be repeated for credit.
Terms: Aut, Win | Units: 1 | UG Reqs: WAY-CE, way_ce | Repeatable for credit
Instructors: ; Reddick, R. (PI)

DANCE 102: Musical Theater Dance Styles (MUSIC 184E)

Students will be able to demonstrate period specificity, character of style through learning different musical theater dances from the early 20th C.to the present. ALL students will participate in an end of quarter showing of the choreography developed and composed in class. Class will be supplemented with the occasional guest, DJ accompaniment and video viewing.
Last offered: Winter 2020 | Units: 1 | UG Reqs: WAY-CE, way_ce | Repeatable for credit

DANCE 105R: Contemporary Choreography: Choreographic Realization Project

Choreographic Realization Project will focus on the creation of a choreographic work created collaboratively between participating students and the instructor. Student dancers with all levels of choreographic experience will be invited to work in tandem with the instructor on the creation of rigorous and detailed movement statements as material for the larger group work. The course will function both as an introduction to choreographic methods and tools as well as an experiential investigation of collaborative processes. The course will culminate in an informal public showing on the final class day. Dancers of all levels and movement backgrounds are welcome.
Last offered: Winter 2020 | Units: 1 | UG Reqs: WAY-CE

DANCE 108: Hip Hop Choreography: Hip Hop Meets Broadway

What happens when Hip Hop meets "Fosse", "Aida", "Dream Girls" and "In the Heights"?nThe most amazing collaboration of Hip Hop styles adapted to some of the most memorable Broadway Productions.nThis class will explore the realm between Hip Hop Dance and the Broadway Stage. Infusing Acting thru dance movement and exploring the Art of Lip Sync thru Hip Hop Dance styles.
Terms: Spr | Units: 1 | UG Reqs: WAY-CE, way_ce | Repeatable 9 times (up to 9 units total)
Instructors: ; Reddick, R. (PI)

DANCE 109: Choreography: Strategies to Building Movement, Dance, and Time Based Art

A class for students interested in contemporary methods of devising movement for performance. At the forefront of current dance culture hybridity has become the new normal, with movement blended from everyday actions, classical forms, hip-hop, and beyond. The body as a vehicle for expression is an ever expanding landscape and the class will focus on the plethora of ways movement can be derived including; the many ways improvisation can engender movement, how systemic approaches to performance can enhance a creators understanding of the body in space, the ways chaos and ugliness can redefine our notions of beauty, and how environment, sound, music, and context can inform our physical sensibilities. The class is open to all students from any movement background or those new to dance with a curiosity about how the body can be a vibrant and multifaceted artistic tool. For more information please contact choreographer and lecturer Alex Ketley at aketley@stanford.edu.
Last offered: Winter 2022 | Units: 2 | UG Reqs: WAY-CE | Repeatable 2 times (up to 4 units total)

DANCE 121: Creative and Contemplative Movement: Intro to Qigong (LIFE 121)

In the class, students will be introduced to qigong as moving meditation. Qigong, loosely translated as energy cultivation, is a branch of Traditional Chinese Medicine based on the principles of Buddhism and Taoism. It can integrate the mind and body and cultivate awareness of the present moment. In this class, we will conceptualize qigong through the lenses of both creativity and contemplation and practice it as a slow dance-meditation. Students will learn exercises based on the Yoqi Six Phases of Qi Flow, developed by Marisa Cranfill, as well as engage in creative, improvisational movement. Readings to support the practice include writings by contemporary scholars and practitioners, and articles about the most recent evidence-based research. Assignments include short written reflections as well as solo and collaborative creative projects.
Terms: Spr | Units: 1-2 | UG Reqs: WAY-CE
Instructors: ; Otalvaro, G. (PI)

DANCE 123: Choreography: Hot Mess & Deliberate Failure as Practice

A dance class in how we become the worst dancer possible. The foundation of this class has many parts. One is that, in almost every respect the way we gain insight into anything is to understand more clearly its polarity. As a class we purposely explore chaos, failure, and "bad" dancing, with the hope that then we will have a greater chance to understand and refine our personal notions around beauty. The class also acknowledges that creativity is at times born from the loss of control. Instead of looking at this idea obliquely, Hot Mess looks at this directly by having dancers confront a number of movement and vocal prompts that are literally impossible to execute in any good way. This class embraces and celebrates destabilization, with all the exuberance, fear, and learning that can happen when we accept and practice being lost.
Terms: Spr | Units: 2 | UG Reqs: WAY-CE
Instructors: ; Ketley, A. (PI)

DANCE 133: History of the Waltz

Two hundred years of waltzing: Regency era waltz (1816), Vienna in the 1830s, redowa and mazurka waltz variations, waltz in 5/4 time, the Russian Mazurka Quadrille, pivots, 20th-century hesitation waltz, tango waltz, Parisian valse musette, 1930s Boston, 1950s Bandstand-style waltz, swing waltz. Each form is explored for possible adaptation to today's non-competitive social dancing. May be repeated for credit two times.
Last offered: Autumn 2022 | Units: 1 | UG Reqs: WAY-CE | Repeatable 2 times (up to 2 units total)

DANCE 140: Contemporary Modern II

This intermediate level course will cover fundamental principles underlying the evolving style of modern/contemporary dance both technical and artistic in nature. Students will perform creative and technical exercises that develop strength, flexibility, musicality, increased range of motion, functional efficiency, and performance quality as a means towards developing more, efficient, expressive, and communicative bodies. The contemporary technique taught in this class prepares the student to perform with clarity and artistry, and with deeper anatomical knowledge and connectivity.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable for credit
Instructors: ; Simpson, R. (PI)

DANCE 141: Contemporary Modern III

This advanced level technique course will cover the fundamental principles underlying modern/contemporary dance both technical and artistic in nature. Students will perform technical exercises that develop functional efficiency, strength, flexibility, musicality, range of motion and performance quality as a means towards honing their own artistic expression and physicality. More advanced concepts such as qualitative versatility, phrasing awareness, innovative physical decision-making, and attention to performance will be explored in greater depth. The contemporary technique taught in this class prepares the student to perform with clarity and artistry, and with deeper anatomical knowledge and connectivity. Short written reflections and concert attendance will supplement studio work. May be repeated for credit.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable for credit
Instructors: ; Simpson, R. (PI)

DANCE 141S: Contemporary Modern: Advanced Comparative Techniques

Students will take technique classes each week from various, diverse and notable Contemporary Modern Dance Instructors from across the Bay Area and beyond, in order to learn from and be exposed to the scope and breadth of the contemporary dance field.
Last offered: Spring 2022 | Units: 1 | UG Reqs: WAY-CE

DANCE 148: Ballet II

Intermediate Ballet at Stanford is designed for students who have done ballet in their past, but maybe have stepped away from the form for awhile. The class focuses on technique, musicality, vocabulary, coordination and artistic choice. The class looks at ballet as an enduring and vibrant movement system that can be used for classical purposes or as a way to strengthen and diversify the movement vocabulary inherent in other dance forms like modern, hip-hop, or social dancing.
Terms: Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable for credit
Instructors: ; Pankevich, A. (PI)

DANCE 149: Ballet III

Advanced Ballet at Stanford is offered for students who are interested in rigorous, complex, and artistically compelling ballet training. The class focuses on technique, but in the broad sense of how ballet as a movement system can be used for a wide range of dance disciplines. The class honors the historical training legacy that defines classical ballet, but is in no way shackled to that history in an antiquated fashion. The students are encouraged to explore the form as artists, to question its foundations, and find their own sense of agency within classical dance. Students with a strong background in ballet are encouraged to come, but also students with less ballet training are welcome as long as they have an email dialog with the lecturer beforehand. Any questions can be directed to Lecturer Alex Ketley at aketley@stanford.edu
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable for credit
Instructors: ; Ketley, A. (PI)

DANCE 160J: Conjure Art 101: Performances of Ritual, Spirituality and Decolonial Black Feminist Magic (CSRE 160J)

Conjure Art is a movement and embodied practice course looking at the work and techniques of artists of color who utilize spirituality and ritual practices in their art making and performance work to evoke social change. In this course we will discuss the work of artists who bring spiritual ritual in their art making while addressing issues of spiritual accountability and cultural appropriation. Throughout the quarter we will welcome guest artists who make work along these lines, while exploring movement, writing, singing and visual art making. This class will culminate in a performance ritual co-created by students and instructor.
Terms: Aut | Units: 2 | UG Reqs: WAY-CE
Instructors: ; Smith, A. (PI)

DANCE 166: History of Social Dance in Western Culture

NEWLY REVISED COURSE. A survey of movement and historical dance from the past two centuries to today, with the technique and traditions that are distinctive to each era. Partnered dances include Waltz, Tango, Jazz Age and Swing Era dances, 1970s Disco, Latin dances, through today's social dance forms. Renaissance and Baroque dance will no longer be covered, in order to focus on the evolution of today's social dance forms. The course will include techniques for historical dance reconstruction, with students creating their own dance reconstructions. Previous dance experience is not required to take this course.
Last offered: Autumn 2021 | Units: 1 | UG Reqs: WAY-CE, way_ce

DESIGN 11: Visual Thinking

Visual Thinking is the foundational class for all designers and creative people at Stanford. It teaches you how to access your creativity through a series of projects. Visual thinking, a powerful adjunct to other problem solving modalities, is developed and exercised in the context of solving some fun and challenging design problems. Along the way, the class expands your access to your imagination, helps you see more clearly with the "mind's eye", and learn how to do rapid visualization and prototyping. The emphasis on basic creativity, learning to build in the 3D and digital world, and fluent and flexible idea production. This class was formerly listed as ME 101, and is a required foundational class for undergrad design majors.
Terms: Aut, Win, Spr | Units: 4 | UG Reqs: GER:DB-EngrAppSci, WAY-CE

DESIGN 170: Visual Frontiers

The student will learn how to use graphic design to communicate online, in person, and through printed matter. Fundamentals of visual communications will be applied to branding exercises, typographic studies, color explorations, drawing exercises, use of photography, and use of grid and layout systems. This class was formerly listed as ME 125. This course can satisfy the visual expression elective requirement for undergrad design majors.
Terms: Win, Spr | Units: 3 | UG Reqs: WAY-CE

DLCL 111Q: Texts and Contexts: Spanish/English Literary Translation Workshop (COMPLIT 111Q, ILAC 111Q)

The Argentinian writer and translator, Jorge Luis Borges, once said, 'Cada idioma es un modo de sentir el universo.' How are modes of feeling and perception translated across languages? How does the historical context of a work condition its translation into and out of a language? In this course, you will translate from a variety of genres that will teach you the practical skills necessary to translate literary texts from Spanish to English and English to Spanish. By the end of the term, you will have translated and received feedback on a project of your own choosing. Discussion topics may include: the importance of register, tone, and audience; the gains, in addition to the losses, that translations may introduce; the role of ideological, social-political, and aesthetic factors on the production of translations; and comparative syntaxes, morphologies, and semantic systems. Preference will be given to sophomores but freshman through seniors have enjoyed this course in the past. Course taught in Spanish.
Last offered: Winter 2023 | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

DLCL 113Q: Borges and Translation (ILAC 113Q)

Borges's creative process and practice as seen through the lens of translation. How do Borges's texts articulate the relationships between reading, writing, and translation? Topics include authorship, fidelity, irreverence, and innovation. Readings will draw on Borges's short stories, translations, and essays. Taught in Spanish. Prerequisite: 100-level course in Spanish or permission of instructor.
Last offered: Autumn 2017 | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

DLCL 121: Performing the Middle Ages

Through an analysis of medieval courtly love, religious, satirical, and Crusade lyrics, we will study the rise of a new subjectivity; the female voice; the roles of poet, audience, and patron; oral and manuscript transmission; and political propaganda. Special attention will be given to performance as a reimagining of self and social identity. Authors include Bertran de Born, Marie de France, Hildegard von Bingen, Walther von der Vogelweide, Dante, and Chaucer. Students will have the opportunity to produce a creative project that brings medieval ideas about performance into dialogue with modern conceptions. Taught in English, all texts in translation. NOTE: for AY 2018-19 FRENCH 166 Food, Text, Music: A Multidisciplinary Lab on the Art of Feasting counts for DLCL 121.
Last offered: Autumn 2016 | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-CE

DLCL 123: Medieval Journeys: Introduction through the Art and Architecture (ARTHIST 105B, ARTHIST 305B)

The course explores the experience and imagination of medieval journeys through an interdisciplinary, cross-cultural, and skills-based approaches. As a foundations class, this survey of medieval culture engages in particular the art and architecture of the period. The Middle Ages is presented as a network of global economies, fueled by a desire for natural resources, access to luxury goods and holy sites. We will study a large geographical area encompassing the British Isles, Europe, the Mediterranean, Central Asia, India, and East Africa and trace the connectivity of these lands in economic, political, religious, and artistic terms from the fourth to the fourteenth century C.E. The students will have two lectures and one discussion session per week. Depending on the size of the class, it is possible that a graduate student TA will run the discussion session. Our goal is to give a skills-oriented approach to the Middle Ages and to engage students in creative projects that will satisfy either the Ways-Creative Expression requirement or Ways-Engaging Difference. NOTE: for AY 2018-19 HISTORY 115D Europe in the Middle Ages, 300-1500 counts for DLCL 123.
Last offered: Spring 2020 | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-CE, WAY-EDP

DLCL 293: Literary Translation: Theory and Practice (COMPLIT 293, ENGLISH 293)

An overview of translation theories and practices over time. The aesthetic, ethical, and political questions raised by the act and art of translation and how these pertain to the translator's tasks. Discussion of particular translation challenges and the decision processes taken to address these issues. Coursework includes assigned theoretical readings, comparative translations, and the undertaking of an individual translation project.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Santana, C. (PI)

EARTHSYS 91EJ: Environmental Justice Storytelling: Writing for Impact (PWR 91EPA)

In this class students will explore groundbreaking environmental justice (EJ) stories created in multiple mediums including podcasts, documentaries, op-eds, and social media. Over the quarter you will research and develop your own EJ story and select a genre to communicate it as you work through key questions to take outside of the class and into your career: What is the role of the writer in addressing our greatest environmental and social challenges? What impact can stories have in shifting power and changing policies? How do we transform mainstream narratives? How do we engage the most impacted voices in the making of our stories? How do we figure out the audience to reach and how best to reach them? Finally, where are the places we find hope in this work? This course does not fulfill the WR1 or WR2 requirement.
Last offered: Autumn 2022 | Units: 3 | UG Reqs: WAY-CE, WAY-EDP

EARTHSYS 149: Wild Writing (EARTHSYS 249)

What is the wild? What is our relationship to nature, and why does this relationship matter? We will interrogate these questions through the work of influential, diverse, primarily American environmental writers who have given voice to many ways of knowing the wonder, fragility, complexity, and power of the natural world and have inspired readers to act on behalf of social-environmental causes. This course centers the work of diverse voices, including Indigenous, Black, and Chicana writers, enabling us to consider some of the many ways that people have understood and experienced nature throughout history and the relevance of these manifold ways of knowing to our conceptualizations of nature today. Students will develop their responses to the question of what is the wild and why it matters through a series of synchronous and asynchronous in-the-field writing exercises that integrate personal narrative and environmental scholarship, culminating in a ~3000-word narrative nonfiction essay. This course will provide students with knowledge, tools, experience, and skills that will empower them to become more persuasive environmental storytellers and advocates.If you are interested in signing up for the course, complete this pre-registration form:https://stanforduniversity.qualtrics.com/jfe/form/SV_9XqZeZs036WIvop
Terms: Spr | Units: 3 | UG Reqs: WAY-CE

EARTHSYS 154: Intermediate Writing: Communicating Climate Change: Navigating the Stories from the Frontlines (PWR 91EP)

In the next two decades floods, droughts and famine caused by climate change will displace more than 250 million people around the world. In this course students will develop an increased understanding of how different stakeholders including scientists, aid organizations, locals, policy makers, activists, and media professionals communicate the climate change crisis. They will select a site experiencing the devastating effects and research the voices telling the stories of those sites and the audiences who are (or are not) listening. Students might want to investigate drought-ridden areas such as the Central Valley of California or Darfur, Sudan; Alpine glaciers melting in the Alps or in Alaska; the increasingly flooded Pacific islands; the hurricane ravaged Gulf Coast, among many others. Data from various stakeholders will be analyzed and synthesized for a magazine length article designed to bring attention to a region and/or issue that has previously been neglected. Students will write and submit their article for publication.For students who have completed the first two levels of the writing requirement and want further work in developing writing abilities, especially within discipline-specific contexts and nonfiction genres. Individual conferences with instructor and peer workshops. Prerequisite: first two levels of the writing requirement or equivalent transfer credit. For more information, see https://undergrad.stanford.edu/programs/pwr/explore/notation-science-writing.
Last offered: Spring 2016 | Units: 4 | UG Reqs: WAY-CE, WAY-SI

EARTHSYS 157: Stanford Science Podcast (PWR 91JS)

In this course, students will explore how podcasts can be used as a tool for effective science communication. Through a series of workshops and guest speakers, students in this course will learn the necessary journalistic and technical skills to produce high quality podcast episodes, from interviewing and storytelling to audio editing and digital publishing. Podcast episodes will highlight the cutting edge research being done at Stanford, and students will choose specific stories based on their own interests, from earth sciences to public health to big data. Final podcast episodes will be published on iTunes.
Last offered: Spring 2021 | Units: 3 | UG Reqs: WAY-CE

EDUC 141: Counterstory in Literature and Education (CSRE 141E, EDUC 341, LIFE 124)

Counterstory is a method developed in critical legal studies that emerges out of the broad "narrative turn" in the humanities and social science. This course explores the value of this turn, especially for marginalized communities, and the use of counterstory as analysis, critique, and self-expression. Using an interdisciplinary approach, we examine counterstory as it has developed in critical theory, critical pedagogy, and critical race theory literatures, and explore it as a framework for liberation, cultural work, and spiritual exploration.
Last offered: Spring 2022 | Units: 3 | UG Reqs: WAY-CE, WAY-EDP

EMED 123N: Does Social Media Make Better Physicians?

Scientific knowledge doubles every 90 days. Physicians must quickly learn about recent discoveries to remain current in their chosen specialties. How does tech help doctors stay up-to-date? Twitter, Snapchat, lnstagram, and Face book are used to teach physicians and their patients. Online learning systems have replaced most textbooks and social media platforms are now vehicles to disseminate new knowledge. This seminar will explore the best ways to use technology in medical education, with a focus on the application of social media as a key instructional tool. Students will learn about the different stages of education required to become a physician and explore some of the challenges to continuing medical education. Class assignments will include the creation of health education infographics, reading and drafting posts for medical biogs, and critical analysis of medical podcasts. The course will be particularly interesting to pre-medical students who have a background in blogging or pod casting, though such experiences or skills are not prerequisites for enrollment. Throughout the seminar, there will be an emphasis on the impact of digital scholarship. Students will have the opportunity to submit high-quality classwork for possible online publication on several medical education sites made available by the course instructor.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Gisondi, M. (PI)

ENGLISH 9CE: Creative Expression in Writing

Primary focus on giving students a skill set to tap into their own creativity. Opportunities for students to explore their creative strengths, develop a vocabulary with which to discuss their own creativity, and experiment with the craft and adventure of their own writing. Students will come out of the course strengthened in their ability to identify and pursue their own creative interests. For undergrads only. NOTE: For undergraduates only. Students must attend the first class meeting to retain their roster spot.
Terms: Aut, Win, Spr, Sum | Units: 3 | UG Reqs: WAY-CE

ENGLISH 9CF: Poetry Into Film

This course focuses on the intersection between film and poetry. Students will complete three short films based on both published and student-authored poems. From concept to final cut, students will script, storyboard, soundtrack, and visually design each production before filming, editing, and screening their films for class. As such, the course will serve as an introduction to both poetry and digital filmmaking.nNOTE: Students must attend the first class meeting to retain their roster spot.
Last offered: Spring 2019 | Units: 3 | UG Reqs: WAY-CE

ENGLISH 9CFS: Fire Stories: Narrative in the Digital Age

How do we tell stories in the age of the internet, social media, and new technology? How has the art of storytelling evolved over time? In this Creative Writing course we will explore storytelling in the digital age. We will be reading and writing in a variety of genres, workshopping our own personal projects, and considering ways in which storytelling has shifted from oral traditions to modern iterations like podcasts, songwriting, filmmaking, and multimedia. Assignments will range from reading Justin Torres' novel, 'We the Animals,' to watching films like 'Birdman' and 'La Jet¿e.' We will be listening to albums, looking at photo essays, and frequently meeting outdoors to tell stories around a fire. Anyone with a sense of adventure is welcome!
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Carlson-Wee, K. (PI)

ENGLISH 9CI: Inspired By Science: A Writing Workshop

How can your interest in science and the environment be enriched by a regular creative practice? How do you begin to write a poem or essay about the wonders of the natural world or the nuances of climate change? What are the tools and strategies available to creative writers, and how can these techniques be used to communicate complex concepts and research to wide-audiences? We begin to answer these questions by drawing inspiration from the rich tradition of scientists who write and writers who integrate science. Emphasizing writing process over finished product, students maintain journals throughout the quarter, responding to daily prompts that encourage both practice and play. Through open-ended and exploratory writing, along with specific exercises to learn the writer's craft students develop a sense of their own style and voice. Note: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Terms: Aut, Spr | Units: 3 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Michas-Martin, S. (PI)

ENGLISH 9CP: Writing Off the Page: Songwriting, Film, and Spoken Word

With recent blockbuster films like Patterson and major prizes being awarded to artists like Bob Dylan and Kendrick Lamar, the borders of what constitutes traditional literature are shifting. In this Creative Writing course we will be looking at literature `off the page,' in songwriting, spoken word, multi-media, and visual art. We will be workshopping our own creative projects and exploring the boundaries of contemporary literature. Artists we'll be looking at include Iron and Wine, Lil Wayne, Allen Ginsberg, Beyonce, David Lynch, Patti Smith, Mark Strand, Anne Carson, Danez Smith, Bon Iver, and Lou Reed. For undergraduates only. NOTE: Students must attend the first class meeting to retain their roster spot.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Carlson-Wee, K. (PI)

ENGLISH 9CV: Creative Expression in Writing

Online workshop whose primary focus is to give students a skill set to tap into their own creativity. Opportunities for students to explore their creative strengths, develop a vocabulary with which to discuss their own creativity, and experiment with the craft and adventure of their own writing. Students will come out of the course strengthened in their ability to identify and pursue their own creative interests.
Terms: Sum | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Pufahl, S. (PI)

ENGLISH 9CW: Writing and World Literature

This course is an introduction to reading and writing short fiction and poetry. For inspiration and imitation, students will read models drawn from a diverse body of global literature. In a supportive, discussion-based environment, students will develop their own creativity and experiment with the craft and adventure of their own writing. Students will come out of the course strengthened in their ability to identify and pursue their own creative interests.nNOTE: Students must attend the first class meeting to retain their roster spot.
Last offered: Winter 2020 | Units: 3 | UG Reqs: WAY-CE

ENGLISH 9CWA: Word/Art

This class will explore the interconnectivity of writing and visual art by asking the question, what is possible in the relationship between text and image? We'll look at concrete and graphic poetry, comics and graphic nonfiction; as well as chapbooks, broadsides, erasures, visual alphabets and syllabaries, and even tarot cards. In this process we'll conceive broader questions about language and representation: what can words do that visual images cannot and vice versa; what capacities does each have for conjuring reality; what becomes imaginable only when text and image fuse? Students will have the opportunity to try out a number of small-scale exercises, as well as to craft a sustained word/art project. They will come away with a new understanding of their own relationship(s) to language, and an expanded sense of possibility in their creative practice. No experience with writing or visual art is necessary though students should be prepared to experiment as both writers and visual artists. For undergraduates only.
Last offered: Winter 2023 | Units: 3 | UG Reqs: WAY-CE

ENGLISH 13Q: Imaginative Realms

This class looks at the tradition of the imagined universe in fiction and poetry. Special topics include magical realism, artificial intelligence, and dystopias. Primary focus on giving students a skill set to tap into their own creativity. Opportunities for students to explore their creative strengths, develop a vocabulary with which to discuss their own creativity, and experiment with the craft and adventure of their own writing. For undergrads only.
Terms: Aut | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Ekiss, K. (PI)

ENGLISH 16Q: Family Stories

This creative writing workshop will explore the idea of family. We'll begin with our questions: How do we conceptualize the word family? How do family histories, stories, mythologies, and languages shape our narratives? What does family have to do with the construction of a self? How can we investigate the self and all of its many contexts in writing? We'll consider how we might work from our questions in order to craft work that is meaningful and revealing. Students will have the opportunity to write in both poetry and prose, as well as to develop their own creative cross-genre projects. Along the way, we'll discuss elements of craft essential to strong writing: how to turn the self into a speaker; how create the world of a piece through image, detail, and metaphor; how to craft beautiful sentences and lines; how to find a form; and many other topics.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Perham, B. (PI)

ENGLISH 18Q: Writer's Salon

This course explores from a writer's perspective what it takes to craft a successful novel, short story collection, or book of poetry. You will read three prize-winning books from Bay Area authors, including Creative Writing instructors here at Stanford. Each author will visit our class to talk about their work and the writing process. From week to week, you will complete short writing exercises culminating in a longer story or series of poems that you share with class. For undergrads only.
Last offered: Autumn 2019 | Units: 3 | UG Reqs: WAY-CE

ENGLISH 19Q: I Bet You Think You're Funny: Humor Writing Workshop

Nothing is harder than being funny on purpose. We often associate humor with lightness, and sometimes that's appropriate, but humor is inextricably interlinked with pain and anger, and our funniest moments often spring from our deepest wounds. Humor can also allow us a platform for rage and indignation when other forms of rhetoric feel inadequate. This workshop will take students through the techniques and aesthetics of humor writing, in a variety of forms, and the main product of the quarter will be to submit for workshop a sustained piece of humor writing. For undergrads only.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Porter, E. (PI)

ENGLISH 21Q: Write Like a Poet: From Tradition to Innovation

In this poetry workshop, we will spend the first half of the quarter reading and writing in traditional forms and the second half innovating from those forms. When discussing poetry, what do we mean when we talk about craft? What is prosody and why is it important? What are the relationships between form and content? What does a modern sonnet look like? We will consider how a writer might honor a tradition without being confined by it. The culmination of the course will be a project in which the student invents (and writes in) a form of their own. All interested students are welcome beginners and experts alike.
Last offered: Autumn 2022 | Units: 3 | UG Reqs: WAY-CE

ENGLISH 22Q: Writing Mystical, Spiritual, and Altered Experiences

Because mystical, spiritual, and altered states of experience have always been a part of human life, we've always been trying to write about them. While some try to claim these subjects are frivolous, dated, or even dangerous, writers keep coming back to them, including some of the best writers of our time. Lucky for us, the results have been exhilarating. In this class, we'll look at a range of writers and forms to understand how these ancient subjects are handled in the contemporary context, including works by journalists Michael Pollan and Jia Tolentino, Scientists Robin Wall Kimmerer and Oliver Sacks, fiction writers Denis Johnson and Hillary Mantel, and poets Max Ritvo and Christopher Wiman. Most importantly, we'll write our own pieces of questioning, exploration, and awe.
Last offered: Winter 2021 | Units: 3 | UG Reqs: WAY-CE

ENGLISH 23Q: First Chapters: Please Allow Me to Introduce My Novel

In this course we'll explore how an effective first chapter immerses us in the voice of the narrator, introduces a series of themes and problems, indicates character desires and fears, and most importantly enchants and inspires its readers. We'll write short reaction papers and hold discussions in small and large groups. In the second half of the quarter, students will compose their own first novel chapter of around 8-12 pages, and we'll workshop them in class. The final goal is to have a revised first chapter, a short outline for the rest of a book, and an increased knowledge of writing original and irresistible opening chapters.
Last offered: Winter 2023 | Units: 3 | UG Reqs: WAY-CE

ENGLISH 24Q: Leaving Patriarchy: A Course for All Genders (FEMGEN 24Q)

This is a creative writing course for writers of all genders who are interested in thinking about patriarchy and how to resist it. Our course will aim to complicate the idea that men benefit from patriarchy and are its primary enforcers, while the rest of us are simply suffering under it. We'll ask ourselves how patriarchy is bad for ALL of us, and how ALL of us are implicated in its perpetuation. Do we ALL have the reasons and the resources to leave patriarchy--and can we start to leave it right now? We'll read works of scholarship and literature that investigate patriarchy as a human relational problem. We'll write fiction and nonfiction in which we explore the ways patriarchy has shaped us, challenge ourselves to resist its manifestations in our relationships, envision a future without patriarchy, and begin to live that future right now. Most crucially, we will practice creating a space in which all of us can speak without fear of judgment about our experiences of a fraught topic.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE

ENGLISH 25Q: Queer Stories (FEMGEN 25Q)

Queer Stories is a creative writing class open to any and all students, regardless of how they define their gender or sexuality. The goals of the class are to read widely in the canon of twentieth and twenty-first century queer prose literature, and to write critical and creative work that engages with the styles, modes, and subjects of these writers. As we read and discuss texts, students will consider a variety of questions: How has queer romance, relationships, and sexuality been represented over the years, in both coded and explicit ways? How have writers grappled with representing our evolving sense of gender as a continuum rather than a binary? How have queer writers interrogated or understood the concept of family? How do queer writers handle the question of the "universal" reader to whom, arguably, they might be speaking? (In a 2012 interview with Lambda Literary, book critic Daniel Mendelsohn argues,contentiously, "It is precisely the gay book's ability to be interesting to a straight reader that makes it a great book.") Lastly, students will also create writing of their own that in some way draws upon the aesthetics or sensibilities of the authors we have read. These pieces may be short stories, personal essays, or texts that--in the spirit of queerness--blur or interrogate standard demarcations of genre. The content of this work might grapple with questions of gender and sexuality, but it might instead be queer in its affect, outlook, or style. In both the reading and writing they do in this class, students will engage with work that deviates from literary convention in the lives it represents and the ways in which it represents them.
Terms: Win | Units: 3 | UG Reqs: WAY-CE, WAY-EDP
Instructors: ; Labowskie, M. (PI)

ENGLISH 27Q: The Childhood Novel

In this course, we will consider the first volumes of three ambitious literary projects: Marcel Proust's IN SEARCH OF LOST TIME; Elena Ferrante's NEOPOLITAN NOVELS; and Karl Ove Knausgaard MY STRUGGLE. These writers, and the novels they wrote, may seem, at first glance, to be very different. Proust was a gay French writer, born in 1871. Ferrante is a reclusive Italian novelist whose identity has, for many years, been a mystery (including her year of birth). Knausgaard is a kind of literary rock star, a Norwegian novelist of immense fame. But all three novelists share a fascination with childhood, and all three novelists have produced works that walk a very fine line between fiction and memoir, imagination and memory. In reading the first volumes of these three long novel sequences, we'll consider what aspects of the writer's life are fit for the page. At what point does the novelist's allegiance to the recollection of their own particular past give way to their invention of a fictional world we can only dwell in? What is the difference between Proust, Ferrante and Knausgaard's first-person narrators and Proust, Ferrante and Knausgaard themselves? And what lessons might we draw from these novelists and novels when it comes to writing about our own childhood experiences?
Last offered: Winter 2023 | Units: 3 | UG Reqs: WAY-A-II, WAY-CE

ENGLISH 90: Fiction Writing

The elements of fiction writing: narration, description, and dialogue. Students write complete stories and participate in story workshops. Prerequisite: PWR 1 (waived in summer quarter). NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Terms: Aut, Win, Spr, Sum | Units: 5 | UG Reqs: WAY-A-II, WAY-CE

ENGLISH 90FC: First Chapters

Novels only get one chance to make a good first impression. Chapter One is that opportunity, and in this course we'll read, discuss, and analyze a variety of historical and contemporary novels with a particular focus on their opening chapter (and sometimes prologue). We'll study strategies around world-building, characterization, creating the engine of a novel (its voice), and in establishing a lively, complex, and surprising world that a reader can't wait to explore in greater detail.
Terms: Win, Spr | Units: 5 | UG Reqs: WAY-CE
Instructors: ; Kealey, T. (PI)

ENGLISH 90H: Humor Writing Workshop

What makes writing funny? What are we doing when we try to be funny? In this creative writing workshop, you'll exercise your native wit by writing short pieces of humor in a variety of forms. We'll practice writing jokes, parody, satire, sketches, stories, and more, study theories of humor, research practical principles and structures that writers have repeatedly used to make things funny, and enjoy and analyze examples of humor old and new to use as models. In the service of creating and understanding humor, we'll also explore questions about what purposes humor serves, and what relationship humor has with power, culture, and history.
Terms: Win, Spr | Units: 5 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Porter, E. (PI)

ENGLISH 90M: Queer Stories (FEMGEN 90M)

Like other 90 and 91-level courses, 90M will explore basic elements of fiction and nonfiction writing. Students will read a wide variety of stories and essays in order to develop a language for working through the themes, forms, and concerns of the queer prose canon. Students will complete and workshop a piece of writing that in some way draws upon the aesthetics or sensibilities of the work we have read, culled from exercises completed throughout the quarter. This final piece may be a short story, a personal essay, a chapter from a novel or memoir, or a piece that, in the spirit of queerness, blurs or interrogates standard demarcations of genre. The course is open to any and all students, regardless of how they define their gender or sexuality. NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Last offered: Winter 2021 | Units: 5 | UG Reqs: WAY-CE, WAY-EDP

ENGLISH 90Q: Sports Writing

Study and practice of the unique narratives, tropes, images and arguments that creative writers develop when they write about popular sport. From regional fandom to individualist adventuring, boxing and baseball to mascot dancing and table tennis, exceptional creative writers mine from a diversity of leisure activity a rich vein of sports writing in the creative nonfiction genre. In doing so, they demonstrate the creative and formal adaptability required to write with excellence about any subject matter, and under the circumstances of any subjectivity. Discussion of the ways in which writers have framed, and even critiqued, our interest in athletic events, spectatorship, and athletic beauty. Writers include Joyce Carol Oates, Roland Barthes, David James Duncan, Arnold Rampersad, John Updike, Maxine Kumin, Susan Sterling, Ernest Hemingway, Norman Mailer, Dervla Murphy, Haruki Murakami, Don DeLillo, Henry Louis Gates, Jr., Annie Dillard, John McPhee, and Laura Hillenbrand. Close readings of essays on form and sport, as well as book excerpts. Students will engage in class discussions and write short weekly papers, leading to a more comprehensive project at the end of the quarter.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Evans, J. (PI)

ENGLISH 90R: American Road Trip

From Whitman to Kerouac, Alec Soth to Georgia O'Keeffe, the lure of travel has inspired many American artists to pack up their bags and hit the open road. In this course we will be exploring the art and literature of the great American road trip, including prose, poetry, films, and photography. We will be reading and writing in a variety of genres, workshopping our own stories, and considering the ways in which our personal journeys have come to inform and define our lives. The course includes a number of campus-wide field trips, and an end-of-quarter road trip down the California coast.
Terms: Spr | Units: 5 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Carlson-Wee, K. (PI)

ENGLISH 90V: Fiction Writing

Online workshop course that explores the ways in which writers of fiction have used language to examine the world, to create compelling characters, and to move readers. We will begin by studying a selection of stories that demonstrate the many techniques writers use to create fictional worlds; we'll use these stories as models for writing exercises and short assignments, leading to a full story draft. We will study figurative language, character and setting development, and dramatic structure, among other elements of story craft. Then, each student will submit a full draft and receive feedback from the instructor and his/her classmates. This course is taught entirely online, but retains the feel of a traditional classroom. Optional synchronous elements such as discussion and virtual office hours provide the student direct interaction with both the instructor and his/her classmates. Feedback on written work ¿ both offered to and given by the student ¿ is essential to the course and creates class rapport.
Terms: Sum | Units: 5 | UG Reqs: WAY-CE

ENGLISH 90W: Writing and War

This introductory, five-unit course is designed for all students interested in reading the literature of and studying the expression of military conflict. Bridging the experiences of Veteran and non-Veteran students will be a central aim of the course and will be reflected in enrollment, reading materials, visiting guests and final narrative project.
Last offered: Winter 2019 | Units: 5 | UG Reqs: WAY-CE

ENGLISH 90WM: Writing Mystical, Spiritual, and Altered States: A Workshop

In this writing workshop, we will explore core fiction and nonfiction techniques by engaging with the long literary tradition of writing about mystical, spiritual, and altered states of experience. The logic is simple: if you can write well about what is often called 'indescribable; or 'ineffable,' you can write about almost anything. We will look at how mystical experiences, spiritual searching, loss of faith, drug experiences, pilgrimages, the natural sublime, and even migraines have made for exhilarating subjects by some of our best contemporary writers, including Michael Pollan, Jia Tolentino, Robin Wall Kimmerer, Oliver Sacks, Denis Johnson, Hillary Mantel, Peter Matthiessen, and Annie Dillard. After close readings and discussions, students will write and workshop their own pieces of questioning, exploration, and awe. Students must attend the first class to retain their roster spot.
Terms: Win | Units: 5 | UG Reqs: WAY-CE
Instructors: ; Brewer, W. (PI)

ENGLISH 91: Creative Nonfiction

Historical and contemporary as a broad genre including travel and nature writing, memoir, biography, journalism, and the personal essay. Students use creative means to express factual content. Prerequisite: PWR 1 (waived in summer quarter and for SLE students). NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Terms: Aut, Win, Spr, Sum | Units: 5 | UG Reqs: WAY-A-II, WAY-CE

ENGLISH 91A: Asian American Autobiography/W (AMSTUD 91A, ASNAMST 91A, CSRE 91D)

This is a dual purpose class: a writing workshop in which you will generate autobiographical vignettes/essays as well as a reading seminar featuring prose from a wide range of contemporary Asian-American writers. Some of the many questions we will consider are: What exactly is Asian-American memoir? Are there salient subjects and tropes that define the literature? And in what ways do our writerly interactions both resistant and assimilative with a predominantly non-Asian context in turn recreate that context? We'll be working/experimenting with various modes of telling, including personal essay, the epistolary form, verse, and even fictional scenarios. First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Terms: Win | Units: 5 | UG Reqs: WAY-CE, WAY-EDP
Instructors: ; Lee, C. (PI)

ENGLISH 91AI: Creative Writing & Science: The Artful Interpreter (OCEANS 157H, OCEANS 257H)

What role does creativity play in the life of a scientist? How has science inspired great literature? How do you write accessibly and expressively about things like whales, DNA or cancer? This course provides a unique opportunity for students to directly engage with marine animals, coastal habitats and environmental concerns of Monterey Bay. As historian Jill Lepore writes of Rachel Carson: "She could not have written Silent Spring if she hadn't, for decades, scrambled down rocks, rolled up her pant legs, and waded into tide pools, thinking about how one thing can change another..." Students will complete and workshop three original nonfiction essays that explore the intersection between personal narrative and scientific curiosity. You will develop a more patient and observant eye and improve your ability to articulate scientific concepts to a general readership. Students must submit a Google Form to request enrollment by December 1st: https://forms.gle/yoPriHjyE1GHrCJh7 If selected for enrollment, students must attend the first class meeting to retain their roster spot. **Course taught in-person only at Hopkins Marine Station.** Please note: Depending on enrollment across the courses offered on Fridays at Hopkins, a university shuttle will be made available or carpool mileage reimbursements will be provided. Carpool reimbursement is subject to specific terms and conditions; class lists will be distributed for this purpose. However, if a university shuttle is provided, carpool reimbursements will not be honored.
Terms: Win | Units: 5 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Michas-Martin, S. (PI)

ENGLISH 91DF: Documentary Fictions

More and more of the best American fiction, plays, and even comics are being created out of documentary practices such as in-depth interviewing, oral histories, and reporting. Novels like Dave Eggers' What is the What, plays like Anna Deavere Smith's Twilight: Los Angeles, and narrative journalism like Rebecca Skloot's The Immortal Life of Henrietta Lacks, all act as both witnesses and translators of people's direct experience and push art into social activism in new ways. In this course students will examine the research methods, artistic craft, and ethics of these rich, genre-bending works and then create documentary fictions of their own. Readings will include works by Truman Capote, Dave Eggers, and Lisa Taddeo, as well as Katherine Boo, author of the award-winning Behind the Beautiful Forevers, who will visit the class. No prior creative writing or journalism experience required. Note: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Last offered: Winter 2020 | Units: 4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)

ENGLISH 91NW: Nature Writing

In this course we will be reading some of the most beautiful, magical, vital, dangerous andrevolutionary essays and stories and poems ever written, and, in our own writing about nature, will be joining that lineage that includes writers such as Henry David Thoreau, Ralph Waldo Emerson, Emily Dickinson, John Muir, Wendell Berry, Rachel Carson, Annie Dillard, and many others. Expect to spend lots of time immersed in nature, literally and literarily. Required materials include: pen, notebook, magnifying glass, binoculars, and a good pair of shoes.NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Terms: Spr | Units: 5 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Smith, A. (PI)

ENGLISH 91V: Creative Nonfiction

Online workshop course. Historical and contemporary as a broad genre including travel and nature writing, memoir, biography, journalism, and the personal essay. Students use creative means to express factual content.
Terms: Sum | Units: 5 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Beaty, G. (PI)

ENGLISH 92: Reading and Writing Poetry

Issues of poetic craft. How elements of form, music, structure, and content work together to create meaning and experience in a poem. Prerequisite: PWR 1. NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Terms: Aut, Win, Spr | Units: 5 | UG Reqs: WAY-A-II, WAY-CE

ENGLISH 92L: Poems of Love and Sexuality (FEMGEN 92L)

This writing-intensive workshop will explore the tradition of love poetry, paying attention to how poets have represented the amorous and the erotic in their work - powerful longing, steamy encounters, devastating break-ups - from ancient times to today. As we analyze and interpret the ways poems can record shifting attitudes toward sex, gender, queerness, and relationships, we will also focus on the creative process: generating a sequence of our own poems and developing practical writing skills in group poetry workshops.
Last offered: Spring 2023 | Units: 5 | UG Reqs: WAY-CE

ENGLISH 92V: Reading and Writing Poetry

Online workshop course in which students explore issues of poetic craft. How elements of form, music, structure, and content work together to create meaning and experience in a poem.
Terms: Sum | Units: 5 | UG Reqs: WAY-CE
Instructors: ; Smith, A. (PI)

ENGLISH 93Q: The American Road Trip

From Whitman to Kerouac, Alec Soth to Georgia O'Keeffe, the lure of travel has inspired many American artists to pack up their bags and hit the open road. In this course we will be exploring the art and literature of the great American road trip. We will be reading and writing in a variety of genres, workshopping our own personal projects, and considering a wide breadth of narrative approaches. Assignments will range from reading Cormac McCarthy's novel, 'The Road,' to listening to Bob Dylan's album, 'Highway 61 Revisited.' We will be looking at films like 'Badlands' and 'Thelma and Louise,' acquainting ourselves with contemporary photographers, going on a number of campus-wide field trips, and finishing the quarter with an actual road trip down the California coast. Anyone with a sense of adventure is welcome!
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Carlson-Wee, K. (PI)

ENGLISH 94Q: The Future is Feminine (FEMGEN 94Q)

Gender is one of the great social issues of our time. What does it mean to be female or feminine? How has femininity been defined, performed, punished, or celebrated? Writers are some of our most serious and eloquent investigators of these questions, and in this class we'll read many of our greatest writers on the subject of femininity, as embodied by both men and women, children and adults, protagonists and antagonists. From Virginia Woolf to Ernest Hemingway, from Beloved to Gone Girl (and even "RuPaul's Drag Race"), we'll ask how the feminine is rendered and contested. We'll do so in order to develop a history and a vocabulary of femininity so that we may, in this important time, write our own way in to the conversation. This is first and foremost a creative writing class, and our goals will be to consider in our own work the importance of the feminine across the entire spectrum of gender, sex, and identity. We will also study how we write about femininity, using other writers as models and inspiration. As we engage with these other writers, we will think broadly and bravely, and explore the expressive opportunities inherent in writing. We will explore our own creative practices through readings, prompted exercises, improv, games, collaboration, workshop, and revision, all with an eye toward writing the feminine future.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Pufahl, S. (PI)

ENGLISH 146W: Iconic Short Stories

Exploration of classic (mostly) and contemporary short stories emphasizing craft aspects useful to writers and looking closely at how Chekhov, Kafka, Woolf, Flaubert, Zora Neale Hurston, Alice Munro, and others evoke emotion. Fulfills short story literature requirement for the Minor in Creative Writing and the Creative Writing Emphasis in the English Major. Admission by consent of instructor.
Terms: Spr | Units: 5 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Tallent, E. (PI)

ENGLISH 158H: Science Meets Literature on the Monterey Peninsula (OCEANS 158H, OCEANS 258H)

(Graduate students register for 258H) This course will consider the remarkable nexus of scientific research and literature that developed on the Monterey Peninsula in the first half of the 20th century and how the two areas of creativity influenced each other. The period of focus begins with the 1932 association of John and Carol Steinbeck, Ed Ricketts, and Joseph Campbell, all of whom were highly influenced by the Carmel poet, Robinson Jeffers ¿ and ends with the novels Cannery Row (1945) and Sweet Thursday (1954). An indisputable high-tide mark, Sea of Cortez: A Leisurely of Travel and Research (1941) will be considered in detail. Weekend field trips will include intertidal exploration, a tour of the Jeffers Tor House in Carmel, and whale watching on Monterey Bay. Formally BIOHOPK 158H & 258H.
Last offered: Spring 2019 | Units: 5 | UG Reqs: WAY-A-II, WAY-CE

ENGLISH 177B: Contemporary American Short Stories (AMSTUD 177B)

An exploration of the power and diversity of the American short story ranging from the 1970s to the present day. By examining short stories historically, critically, and above all as art objects, students will learn how to read, interpret, critique, and enjoy short stories as social, political, and humanist documents. Students will learn techniques to craft their own short stories and their own critical essays in a course that combines creative practice and the art of critical appreciation.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

ENGLISH 190: Intermediate Fiction Writing

Intermediate course in the craft and art of fiction writing. Students read a diverse range of short stories and novel excerpts, complete writing exercises, and submit a short and longer story to be workshopped and revised. Prerequisite: 90 or 91. NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Terms: Aut, Win, Spr | Units: 5 | UG Reqs: WAY-CE | Repeatable 2 times (up to 10 units total)

ENGLISH 190D: Dialogue Writing

Study how dialogue develops character, reveals information, moves plots forward, and creates tension. Use of short story, novels, graphic novels, and films. Students will write many short assignments, one dialogue scene, and one longer story or script (10-20pages). Prerequisite: 90.nNOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Last offered: Winter 2020 | Units: 5 | UG Reqs: WAY-CE

ENGLISH 190E: Novel Writing Intensive

The main requirement for this course is a 50,000 word novel. The course explores elements of novel writing including fictional structure, character creation, scene vs. summary, as well as description, narration, and dialogue. Students will read four to five short novels during the first half of the course and then participate in National Novel Writing Month, an international writing event. Students will additionally write synopses, outlines, character sketches, and search tirelessly for the novel's engine: its voice. Designed for any student who has always wanted to write a novel. Prerequisite: 90 or 91. NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Terms: Aut | Units: 5 | UG Reqs: WAY-CE | Repeatable 2 times (up to 10 units total)

ENGLISH 190F: Fiction into Film

Workshop. For screenwriting students. Story craft, structure, and dialogue. Assignments include short scene creation, character development, and a long story. How fictional works are adapted to screenplays, and how each form uses elements of conflict, time, summary, and scene. Prerequisite: 90.nNOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Terms: Win | Units: 5 | UG Reqs: WAY-CE

ENGLISH 190G: The Graphic Novel

Interdisciplinary. Evolution, subject matter, form, conventions, possibilities, and future of the graphic novel genre. Guest lectures. Collaborative creation of a graphic novel by a team of writers, illustrators, and designers. Prerequisite: consent of instructor.
Last offered: Autumn 2022 | Units: 5 | UG Reqs: WAY-CE | Repeatable 2 times (up to 10 units total)

ENGLISH 190H: The Graphic Novel

Continuation of English 190G. Interdisciplinary. Evolution, subject matter, form, conventions, possibilities, and future of the graphic novel genre. Guest lectures. Collaborative creation of a graphic novel by a team of writers, illustrators, and designers. Prerequisite: consent of instructor. NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Last offered: Winter 2023 | Units: 5 | UG Reqs: WAY-CE | Repeatable 2 times (up to 10 units total)

ENGLISH 190HF: Hybrid Forms: Creative Writing Across Genres (ENGLISH 192HF)

What can we learn about fiction when it's written with the concision of a poem? What can we learn about the elliptical thinking of poetry through an extended essay? What freedoms do certain forms allow and take away? This writing workshop focuses on hybrid forms that cross traditional boundaries of genre. Students will read in a wide variety of models, including flash fiction and prose poetry and longer forms that combine genres. We'll discuss how these pieces challenge our expectations, then respond with our own writing. Weekly exercises will culminate in a longer multi-genre project that your share in workshop. NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Last offered: Autumn 2019 | Units: 5 | UG Reqs: WAY-CE | Repeatable 2 times (up to 10 units total)

ENGLISH 190HO: Creatures of the Dark: Ghosts and Ghouls of Horror Fiction

What is horror? Why does it appeal to us, and what makes it successful? This intermediate-level fiction class seeks to explore the dark side of our imaginations through a variety of historical and contemporary contributions to the genre, from Mary Shelley to Victor LaValle. Students will practice craft techniques in a series of short writing assignments and study plot construction, the suspension of disbelief, and propulsive action in service of their readers. Prerequisite: English 90 or 190.
Last offered: Winter 2022 | Units: 5 | UG Reqs: WAY-CE | Repeatable 2 times (up to 10 units total)

ENGLISH 190M: Intermediate Queer Stories

Intermediate Queer Stories is a workshop class open to any and all students, regardless of how they define their gender or sexuality. The goals of the class are to read widely in the canon of twentieth and twenty-first century queer prose literature, and to create work that draws on the styles, modes, and subjects of these writers. In the second half of the class, students will workshop a longer piece of their own writing that in some way draws upon the aesthetics or sensibilities of the writers we have read. This piece may be a short story, a personal essay, a chapter from a novel or memoir, or a piece that, in the spirit of queerness, blurs or interrogates standard demarcations of genre.
Last offered: Spring 2019 | Units: 5 | UG Reqs: WAY-CE, WAY-EDP | Repeatable 2 times (up to 10 units total)

ENGLISH 190SW: Screenwriting Intensive

The main requirement for this course is a full length film script. The course explores elements of screenwriting including beat structure, character creation, scene vs. montage, as well as description and dialogue. Students will read four to five screenplays during the first half of the course and then write a 90-page film script in the second half of the course. Students will additionally write synopses, treatments, character sketches, and beat sheets. Designed for any student who has always wanted to write a screenplay
Terms: Spr | Units: 5 | UG Reqs: WAY-CE | Repeatable 2 times (up to 5 units total)

ENGLISH 190W: Contemporary Women Writers (FEMGEN 190W)

"Every word a woman writes changes the story of the world, revises the official version¿¿is this what sets contemporary women writers apart? How can we understand the relation between the radically unprecedented material such writers explore and ¿the official version¿? What do we find compelling in their challenging of structure, style, chronology, character? Our reading- and writing-intensive seminar will dig into the ways women writers confront, appropriate, subvert, or re-imagine convention, investigating, for example, current debate about the value of ¿dislikable¿ or ¿angry¿ women characters and their impact on readers. While pursuing such issues, you'll write a variety of both essayistic and fictional responses, each of which is designed to complicate and enlarge your creative and critical responsiveness and to spark ideas for your final project. By affirming risk-taking and originality throughout our quarter, seminar conversation will support gains in your close-reading practice and in articulating your views, including respectful dissent, in lively discourse¿in short, skills highly useful in a writer¿s existence. Our texts will come from various genres, including short stories, novels, essays, blog posts, reviews, memoir.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

ENGLISH 190YA: Young Adult Fiction

This is an intermediate course on the art and craft of fiction writing in the young adult genre. We will read widely in the genre. The aim of our reading will be to discover principles of craft, at the sentence level and at the narrative level, that generate powerful and enduring fiction. As we read, we will work to develop a writer's definition of YA. What are the differences between great YA and other great literature? What are the best ways to understand quality in a YA text? Within what bounds, stylistic, ethical, and otherwise, are we working as practitioners of the art form? Students will begin a young adult novel and submit pages from their work to the class on a regular basis. We will convene as a workshop to discuss one another's work.nNOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Terms: Win | Units: 5 | UG Reqs: WAY-CE

ENGLISH 191: Intermediate Creative Nonfiction

Continuation of ENGLISH 91. Reading a variety of creative essays, completing short writing exercises, and discussing narrative techniques in class. Students submit a short (2-5 page) and a longer (8-20 page) nonfictional work to be workshopped and revised. Prerequisite ENGLISH 90 or ENGLISH 91. NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Terms: Win | Units: 5 | UG Reqs: WAY-A-II, WAY-CE | Repeatable 2 times (up to 10 units total)
Instructors: ; Evans, J. (PI)

ENGLISH 192: Intermediate Poetry Writing

Students will examine a diverse range of contemporary poetry. Students write and revise several poems that will develop into a larger poetic project. Prerequisite: 92. NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Terms: Aut, Win | Units: 5 | UG Reqs: WAY-CE | Repeatable 2 times (up to 10 units total)

ENGLISH 192HF: Hybrid Forms: Creative Writing Across Genres (ENGLISH 190HF)

What can we learn about fiction when it's written with the concision of a poem? What can we learn about the elliptical thinking of poetry through an extended essay? What freedoms do certain forms allow and take away? This writing workshop focuses on hybrid forms that cross traditional boundaries of genre. Students will read in a wide variety of models, including flash fiction and prose poetry and longer forms that combine genres. We'll discuss how these pieces challenge our expectations, then respond with our own writing. Weekly exercises will culminate in a longer multi-genre project that your share in workshop. NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Last offered: Autumn 2019 | Units: 5 | UG Reqs: WAY-CE | Repeatable 2 times (up to 10 units total)

ENGLISH 290: Advanced Fiction Writing

Workshop critique of original short stories or novel. Prerequisite: Intermediate prose workshop.
Terms: Win, Spr | Units: 5 | UG Reqs: WAY-CE | Repeatable 2 times (up to 10 units total)

ENGLISH 293: Literary Translation: Theory and Practice (COMPLIT 293, DLCL 293)

An overview of translation theories and practices over time. The aesthetic, ethical, and political questions raised by the act and art of translation and how these pertain to the translator's tasks. Discussion of particular translation challenges and the decision processes taken to address these issues. Coursework includes assigned theoretical readings, comparative translations, and the undertaking of an individual translation project.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Santana, C. (PI)

ENGR 180: Designing Black Experiences (AFRICAAM 180D)

This discussion-rich course is for students to learn design thinking to more confidently navigate life and careers as members and allies of the Black community. This course will allow students to navigate identity while building community to uplift Black voices through design thinking tools to help leverage their experiences and gain a competitive edge. Students will gain a deeper understanding of intersectionality, how to create and cultivate alignment, and learn to effectively navigate life design schemas, ideas, and options.
Terms: Win, Spr | Units: 2 | UG Reqs: WAY-CE

FEMGEN 21R: StoryCraft: Athlete Relationships (TAPS 21AR)

What are the roles of sex, sexuality, intimacy, and relationships in my life? How do I tell a compelling story? In this class, you will learn about these topics from the inside out. We will explore various perspectives on sexuality, intimacy, and relationships and then dive into our own stories to discover the richness and vibrancy of our lived experience. Due to the personal nature of the topic, we will emphasize safety, trust, and confidentiality throughout. The class offers the structure and guidance to 1) mine your life for stories, 2) craft the structure and shape of your stories, and 3) perform with presence, authenticity, and connection. Students will be selected from this class to tell their stories in Beyond Sex Ed during NSO 2024. Please fill out this short application for enrollment: bit.ly/Spring2024StoryCraft.
Last offered: Winter 2022 | Units: 2 | UG Reqs: WAY-CE

FEMGEN 21S: StoryCraft: On Relationships (TAPS 21S)

Do we need love? And if so, what does it look like? In this class, students will learn about relationships from the inside out: through an examination and telling of their lived experiences. We will explore various perspectives on intimacy and relationships that illuminate different aspects of our lives, and then dive into our own stories to discover the many facets of intimacy. Due to the personal nature of the topic, we will emphasize safety, trust, and confidentiality throughout. The class offers the structure and guidance to 1) mine your life for stories, 2) craft the structure and shape of your stories, and 3) perform with presence, authenticity, and connection. Please fill out this short application for enrollment: bit.ly/Fall2020StoryCraft
Last offered: Autumn 2020 | Units: 2 | UG Reqs: WAY-CE

FEMGEN 21T: StoryCraft: Sexuality, Intimacy & Relationships (TAPS 21T)

What are the roles of sex, sexuality, intimacy, and relationships in my life? How do I tell a compelling story? In this class, you will learn about these topics from the inside out. We will explore various perspectives on sexuality, intimacy, and relationships and then dive into our own stories to discover the richness and vibrancy of our lived experience. Due to the personal nature of the topic, we will emphasize safety, trust, and confidentiality throughout. The class offers the structure and guidance to 1) mine your life for stories, 2) craft the structure and shape of your stories, and 3) perform with presence, authenticity, and connection. Students will be selected from this class to tell their stories in Beyond Sex Ed during NSO 2024. Please fill out this short application for enrollment: bit.ly/Spring2024StoryCraft.
Terms: Spr | Units: 2 | UG Reqs: WAY-CE
Instructors: ; Booth, B. (PI)

FEMGEN 24N: Sappho: Erotic Poetess of Lesbos (CLASSICS 16N)

Preference to freshmen. Sappho's surviving fragments in English; traditions referring to or fantasizing about her disputed life. How her poetry and legend inspired women authors and male poets such as Swinburne, Baudelaire, and Pound. Paintings inspired by Sappho in ancient and modern times, and composers who put her poetry to music.
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-CE, WAY-EDP
Instructors: ; Peponi, A. (PI)

FEMGEN 24Q: Leaving Patriarchy: A Course for All Genders (ENGLISH 24Q)

This is a creative writing course for writers of all genders who are interested in thinking about patriarchy and how to resist it. Our course will aim to complicate the idea that men benefit from patriarchy and are its primary enforcers, while the rest of us are simply suffering under it. We'll ask ourselves how patriarchy is bad for ALL of us, and how ALL of us are implicated in its perpetuation. Do we ALL have the reasons and the resources to leave patriarchy--and can we start to leave it right now? We'll read works of scholarship and literature that investigate patriarchy as a human relational problem. We'll write fiction and nonfiction in which we explore the ways patriarchy has shaped us, challenge ourselves to resist its manifestations in our relationships, envision a future without patriarchy, and begin to live that future right now. Most crucially, we will practice creating a space in which all of us can speak without fear of judgment about our experiences of a fraught topic.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE

FEMGEN 25Q: Queer Stories (ENGLISH 25Q)

Queer Stories is a creative writing class open to any and all students, regardless of how they define their gender or sexuality. The goals of the class are to read widely in the canon of twentieth and twenty-first century queer prose literature, and to write critical and creative work that engages with the styles, modes, and subjects of these writers. As we read and discuss texts, students will consider a variety of questions: How has queer romance, relationships, and sexuality been represented over the years, in both coded and explicit ways? How have writers grappled with representing our evolving sense of gender as a continuum rather than a binary? How have queer writers interrogated or understood the concept of family? How do queer writers handle the question of the "universal" reader to whom, arguably, they might be speaking? (In a 2012 interview with Lambda Literary, book critic Daniel Mendelsohn argues,contentiously, "It is precisely the gay book's ability to be interesting to a straight reader that makes it a great book.") Lastly, students will also create writing of their own that in some way draws upon the aesthetics or sensibilities of the authors we have read. These pieces may be short stories, personal essays, or texts that--in the spirit of queerness--blur or interrogate standard demarcations of genre. The content of this work might grapple with questions of gender and sexuality, but it might instead be queer in its affect, outlook, or style. In both the reading and writing they do in this class, students will engage with work that deviates from literary convention in the lives it represents and the ways in which it represents them.
Terms: Win | Units: 3 | UG Reqs: WAY-CE, WAY-EDP
Instructors: ; Labowskie, M. (PI)

FEMGEN 90M: Queer Stories (ENGLISH 90M)

Like other 90 and 91-level courses, 90M will explore basic elements of fiction and nonfiction writing. Students will read a wide variety of stories and essays in order to develop a language for working through the themes, forms, and concerns of the queer prose canon. Students will complete and workshop a piece of writing that in some way draws upon the aesthetics or sensibilities of the work we have read, culled from exercises completed throughout the quarter. This final piece may be a short story, a personal essay, a chapter from a novel or memoir, or a piece that, in the spirit of queerness, blurs or interrogates standard demarcations of genre. The course is open to any and all students, regardless of how they define their gender or sexuality. NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Last offered: Winter 2021 | Units: 5 | UG Reqs: WAY-CE, WAY-EDP

FEMGEN 92L: Poems of Love and Sexuality (ENGLISH 92L)

This writing-intensive workshop will explore the tradition of love poetry, paying attention to how poets have represented the amorous and the erotic in their work - powerful longing, steamy encounters, devastating break-ups - from ancient times to today. As we analyze and interpret the ways poems can record shifting attitudes toward sex, gender, queerness, and relationships, we will also focus on the creative process: generating a sequence of our own poems and developing practical writing skills in group poetry workshops.
| Units: 5 | UG Reqs: WAY-CE

FEMGEN 94Q: The Future is Feminine (ENGLISH 94Q)

Gender is one of the great social issues of our time. What does it mean to be female or feminine? How has femininity been defined, performed, punished, or celebrated? Writers are some of our most serious and eloquent investigators of these questions, and in this class we'll read many of our greatest writers on the subject of femininity, as embodied by both men and women, children and adults, protagonists and antagonists. From Virginia Woolf to Ernest Hemingway, from Beloved to Gone Girl (and even "RuPaul's Drag Race"), we'll ask how the feminine is rendered and contested. We'll do so in order to develop a history and a vocabulary of femininity so that we may, in this important time, write our own way in to the conversation. This is first and foremost a creative writing class, and our goals will be to consider in our own work the importance of the feminine across the entire spectrum of gender, sex, and identity. We will also study how we write about femininity, using other writers as models and inspiration. As we engage with these other writers, we will think broadly and bravely, and explore the expressive opportunities inherent in writing. We will explore our own creative practices through readings, prompted exercises, improv, games, collaboration, workshop, and revision, all with an eye toward writing the feminine future.
Terms: Win, Sum | Units: 3 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Pufahl, S. (PI)

FEMGEN 133: Transgender Performance and Performativity (TAPS 133T)

This course examines theater, performance art, dance, and embodied practice by transgender artists. Students will learn the history and politics of transgender performance while considering the creative processes and formal aesthetics trans artists use to make art. We will analyze creative work in conversation with critical and theoretical texts from the fields of performance studies, art history, and queer studies.
Last offered: Autumn 2019 | Units: 4 | UG Reqs: WAY-A-II, WAY-CE

FEMGEN 144X: Transforming Self and Systems: Crossing Borders of Race, Nation, Gender, Sexuality, and Class (ASNAMST 144, CSRE 144, LIFE 144)

Exploration of crossing borders within ourselves, and between us and them, based on a belief that understanding the self leads to understanding others. How personal identity struggles have meaning beyond the individual, how self healing can lead to community healing, how the personal is political, and how artistic self expression based in self understanding can address social issues. The tensions of victimization and agency, contemplation and action, humanities and science, embracing knowledge that comes from the heart as well as the mind. Studies are founded in synergistic consciousness as movement toward meaning, balance, connectedness, and wholeness. Engaging these questions through group process, journaling, reading, drama, creative writing, and storytelling. Study is academic and self-reflective, with an emphasis on developing and presenting creative works in various media that express identity development across borders.
Last offered: Winter 2022 | Units: 5 | UG Reqs: WAY-CE, WAY-EDP

FEMGEN 150G: Performing Race, Gender, and Sexuality (ARTSINST 150G, CSRE 150G, CSRE 350G, LIFE 150G, TAPS 150G)

In this theory and practice-based course, students will examine performances by and scholarly texts about artists who critically and mindfully engage race, gender, and sexuality. Students will cultivate their skills as artist-scholars through written assignments and the creation of performances in response to the assigned material. Attendance and written reflection about a live performance event on campus are required. Students will also learn various meditation practices as tools for making and critiquing performance, in both our seminar discussions and performance workshops. We will approach mindfulness as method and theory in our own practice, as well as in relation to the works studied. We will also consider the ethics and current debates concerning the mindfulness industry. Examples of artists studied include James Luna, Nao Bustamante, Renee Cox, William Pope.L, Cassils, boychild, Curious, Adrian Piper, Xandra Ibarra, Valérie Reding, Guillermo Gomez-Peña, and Ana Mendieta.
Last offered: Autumn 2022 | Units: 4 | UG Reqs: WAY-CE, WAY-EDP

FEMGEN 150N: Queer Sculpture (ARTSTUDI 150N)

Outlaw sensibilities, self-made kinships, chosen lineages, utopic futurity, exilic commitment, and rage at institutions that police the borders of the normal these are among the attitudes that make up queer in its contemporary usage. -David J. Getsy. This hands-on studio based course explores queer as a form of art production. Artists and thinkers use queer to signal defiance to the mainstream and an embrace of difference, uniqueness and self-determination. To be intolerable is to demand that the normal, the natural and the common be challenged. To do this is not to demand inclusion, but rather to refuse to accept any operations of exclusion and erasure that make up the normal and posit compulsory sameness. Queer Sculpture is also about the strategic effort to appropriate and subvert conventional art practices and tactics that may involve everything from shifts in the content of a work and its targeted audience to the methods by which it is produced and its formal properties. The political imperatives of a queer or queered position will shape thematic investigations of practices related to utopic futurity, anti-assimilationist practices, failure, abstraction, the archive, camp, drag and alternative families. Classes will require reading, discussing, and making. Students will produce artwork for critiques and participate in discussions of the readings. The course includes guest artists and fieldtrips to local LGBTQ archives.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Berlier, T. (PI)

FEMGEN 190W: Contemporary Women Writers (ENGLISH 190W)

"Every word a woman writes changes the story of the world, revises the official version¿¿is this what sets contemporary women writers apart? How can we understand the relation between the radically unprecedented material such writers explore and ¿the official version¿? What do we find compelling in their challenging of structure, style, chronology, character? Our reading- and writing-intensive seminar will dig into the ways women writers confront, appropriate, subvert, or re-imagine convention, investigating, for example, current debate about the value of ¿dislikable¿ or ¿angry¿ women characters and their impact on readers. While pursuing such issues, you'll write a variety of both essayistic and fictional responses, each of which is designed to complicate and enlarge your creative and critical responsiveness and to spark ideas for your final project. By affirming risk-taking and originality throughout our quarter, seminar conversation will support gains in your close-reading practice and in articulating your views, including respectful dissent, in lively discourse¿in short, skills highly useful in a writer¿s existence. Our texts will come from various genres, including short stories, novels, essays, blog posts, reviews, memoir.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

FEMGEN 192: Women in Contemporary French Cinema (FILMEDIA 112, FRENCH 192, FRENCH 392)

Women as objects and subjects of the voyeuristic gaze inherent to cinema. The evolution of female characters, roles, actresses, directors in the French film industry from the sexual liberation to #metoo. Women as archetypes, icones, images, or as agents and subjects. Emphasis on filmic analysis: framing, point of view, narrative, camera work as ways to convey meaning. Themes include: sexualization and desire; diversity and intersectionality in films; new theories of the female gaze; gender, ethnicity and class. Filmmakers include Roger Vadim, Agnès Varda, Luis Buñuel, Claude Chabrol, Colline Serreau, Elena Rossi, Tonie Marshall, Houda Benyamina, Eléonore Pourriat, Céline Sciamma. VISIT BY FILM DIRECTORS Elena Rossi and Sciamma (pending).nnFilms in French with subtitles; Discussion in English; 3 units, 4 units or 5 units.
| Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

FILMEDIA 50Q: The Video Essay: Writing with Video about Media and Culture

In this seminar, we explore what it means to 'write with video,' and we learn to make effective and engaging video essays. Specifically, we examine strategies for communicating through video, and we conduct hands-on exercises using digital video editing software to construct arguments, analyses, and interpretations of film, television, video games, online media, art, and culture. Compared with traditional text-based arguments, the video essay offers a remarkably direct mode of communicating critical and analytical ideas. Video essayists can simply show their viewers what they want them to see. This does not mean, however, that it is any easier than an essay composed with ink and paper. Like the written essay, the new technology introduces its own challenges and choices, including decisions about organization of space and time, audiovisual materials, onscreen text, voiceover commentary, and visual effects. By taking a hands-on approach, we develop our skills with editing software such as Adobe Premiere Pro and Apple's Final Cut Pro while also cultivating our awareness of the formal and narrative techniques employed in cinema and other moving-image media. Through weekly assignments and group critique sessions, we learn to express ourselves more effectively and creatively in audiovisual media. As a culmination of our efforts, we assemble a group exhibition of our best video essays for public display on campus.nNo previous experience is required, but a willingness to learn new technologies (in particular, video editing software) is important.
Terms: Aut | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Denson, S. (PI)

FILMEDIA 112: Women in Contemporary French Cinema (FEMGEN 192, FRENCH 192, FRENCH 392)

Women as objects and subjects of the voyeuristic gaze inherent to cinema. The evolution of female characters, roles, actresses, directors in the French film industry from the sexual liberation to #metoo. Women as archetypes, icones, images, or as agents and subjects. Emphasis on filmic analysis: framing, point of view, narrative, camera work as ways to convey meaning. Themes include: sexualization and desire; diversity and intersectionality in films; new theories of the female gaze; gender, ethnicity and class. Filmmakers include Roger Vadim, Agnès Varda, Luis Buñuel, Claude Chabrol, Colline Serreau, Elena Rossi, Tonie Marshall, Houda Benyamina, Eléonore Pourriat, Céline Sciamma. VISIT BY FILM DIRECTORS Elena Rossi and Sciamma (pending).nnFilms in French with subtitles; Discussion in English; 3 units, 4 units or 5 units.
| Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

FILMPROD 12AX: Narrative Filmmaking: From Script to Screen

Narrative Filmmaking: From Script to Screen is a hybrid writing/production course that guides students through the process of completing a 2-3 minute narrative film. Students will write scripts for short fiction films, and then, by filming them, learn to apply the fundamentals of digital video production. Initial classwork will include visual writing exercises, DSLR cinematography instruction, script work, and basic fiction film production. Students will continue on in groups of three to develop, film, edit, and critique 2-3 minute narrative films based on a shared class theme or narrative premise. This course is truly INTENSIVE and requires a significant amount of work (including nights and weekends) outside of class and daily deadlines for submission of creative work.
Terms: Sum | Units: 2 | UG Reqs: WAY-CE
Instructors: ; Shaw, E. (PI); Tobin, A. (PI)

FILMPROD 13AX: Immersive Cinema

In this exploratory workshop, students will use a variety of tools (Audio recorders/360 cameras/Photogrammetry/Volumetric Capture/XR/Unity Programming) to tell immersive, interactive, and spatial stories. The aim of the projects will be to find forgotten and bring these lesser known stories of the past into the present ¿ including but not limited to Stanford's relationship to Indigenous communities, the formation of the Program in African and Afro-American Studies, the founding of Casa Zapata in 1972.<br>Students will use the conceptual framework of documentary media to inform their work, while also pushing toward new artistic languages and experimenting in the still-emerging form of XR storytelling. Over the course of the Arts Intensive, students will work in teams to create a series of short immersive pieces with an emphasis on experimentation. The course is time intensive: requiring some nights and weekends dedicated to production.n<br><b>Example assignments:</b><br><b>Immersive Spatial Audio "Sonic History of Place"</b> Choose a place on campus with a specific history. With a mix of archival sound recordings, sound effects/foley, and newly recorded sounds, create an interactive audio texture that evokes and tells the history of that place via sound textures only. (note: use of a narrator summarizing (parts of) the story is not allowed.)<br><b>Augmented Installation "Make history visible"</b> Choose a place on campus with a specific history. Using Unity programming or Adobe Aero, 3D objects, VR Painting, and sound elements, create an interactive virtual installation that evokes the history of that place on campus.
Last offered: Summer 2023 | Units: 2 | UG Reqs: WAY-CE

FILMPROD 101: Screen Writing I: Visual Writing

A writing workshop that is an exploration of visual storytelling. Beginning with visual literacy, the class progresses from basic cinematic techniques through scene exercises to revisions and ultimately to connecting scenes in order to build sequences of script pages. Open to all majors; may substitute for ENGL 190F prerequisite for FP104.
Terms: Spr | Units: 5 | UG Reqs: WAY-CE
Instructors: ; Tobin, A. (PI)

FILMPROD 101T: Writing the Television Pilot (FILMPROD 301T)

A writing workshop in which students are introduced to the basic structures and genre of television pilots and to writing within the screenwriting/television writing form. Students will develop, outline, and workshop their own original pilot episode and series bible. Serves as a prerequisite for FP104 Intermediate Screenwriting. Enrollment by decision of instructor. Limited to 16 students. Priority will be given to film studies majors and minors, then seniors, with extra preference for students who have tried unsuccessfully to take the class in the past. You must attend the first meeting; the class list will be finalized after that first session.
Terms: Win | Units: 5 | UG Reqs: WAY-CE
Instructors: ; Tobin, A. (PI)

FILMPROD 106: Image and Sound: Filmmaking for the Digital Age

Despite the rise of emerging forms like two-minute YouTube videos, six second Vines, or interactive storytelling modules, many core principles of visual storytelling remain unchanged. In this hands-on film production class students will learn a broad set of filmmaking fundamentals (basic history, theory, and practice) and will apply them creating film projects using tools such as iPhones, consumer cameras and FCPX.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Gaynin, J. (PI); He, S. (PI)

FILMPROD 114: Introduction to Film and Video Production

Hands-on. Techniques of film and video making including conceptualization, visualization, story structure, cinematography, sound recording, and editing. Enrollment limited to 12 students. Priority to junior/senior Film & Media Studies majors. Admission determined on the first day of class.
Terms: Win, Spr | Units: 5 | UG Reqs: WAY-CE

FILMPROD 115: Immersive Cinema: Experiments in Virtual Reality

In this exploratory workshop, students will use a variety of tools (360 video/ VR cameras and binaural sound design, digital video, and traditional sound recorders) to tell immersive "stories". Students will use the conceptual framework of experimental cinema and documentary film to inform their work, while also pushing toward a new artistic language in the still-emerging form of VR storytelling. Over the course of the quarter, students will work in teams to create a series of short immersive pieces with an emphasis on experimentation. The class has no prerequisites and is open to all students.
Last offered: Winter 2021 | Units: 4 | UG Reqs: WAY-CE

FRENCH 154E: Film & Philosophy CE (ITALIAN 154E, PHIL 193E, PHIL 293E)

Issues of authenticity, morality, personal identity, and the value of truth explored through film; philosophical investigation of the filmic medium itself. Screenings to include Blade Runner (Scott), Do The Right Thing (Lee), The Seventh Seal (Bergman), Fight Club (Fincher), La Jetée (Marker), Memento (Nolan), and Eternal Sunshine of the Spotless Mind (Kaufman). Taught in English. Satisfies the WAY CE.
Last offered: Winter 2019 | Units: 3 | UG Reqs: WAY-CE

FRENCH 185: Texts and Contexts: French-English Translation (COMPLIT 285, CSRE 285, FRENCH 285)

This course introduces students to the ways in which translation has shaped the image of France and the Francophone world. What texts and concepts were translated, how, where, and to what effect? Students will work on a translation project throughout the quarter and translate texts from French to English and English to French. Topics may include the role of translation in the development of cultures; the political dimension of translation, translation in the context of migration, and the socio-cultural frameworks that shape translations. Case studies: Camus, Chamoiseau, Djebar, Fanon, Sow Fall, Proust. Prior knowledge of French language required.
Last offered: Winter 2021 | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

FRENCH 192: Women in Contemporary French Cinema (FEMGEN 192, FILMEDIA 112, FRENCH 392)

Women as objects and subjects of the voyeuristic gaze inherent to cinema. The evolution of female characters, roles, actresses, directors in the French film industry from the sexual liberation to #metoo. Women as archetypes, icones, images, or as agents and subjects. Emphasis on filmic analysis: framing, point of view, narrative, camera work as ways to convey meaning. Themes include: sexualization and desire; diversity and intersectionality in films; new theories of the female gaze; gender, ethnicity and class. Filmmakers include Roger Vadim, Agnès Varda, Luis Buñuel, Claude Chabrol, Colline Serreau, Elena Rossi, Tonie Marshall, Houda Benyamina, Eléonore Pourriat, Céline Sciamma. VISIT BY FILM DIRECTORS Elena Rossi and Sciamma (pending).nnFilms in French with subtitles; Discussion in English; 3 units, 4 units or 5 units.
| Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

FRENCH 285: Texts and Contexts: French-English Translation (COMPLIT 285, CSRE 285, FRENCH 185)

This course introduces students to the ways in which translation has shaped the image of France and the Francophone world. What texts and concepts were translated, how, where, and to what effect? Students will work on a translation project throughout the quarter and translate texts from French to English and English to French. Topics may include the role of translation in the development of cultures; the political dimension of translation, translation in the context of migration, and the socio-cultural frameworks that shape translations. Case studies: Camus, Chamoiseau, Djebar, Fanon, Sow Fall, Proust. Prior knowledge of French language required.
Last offered: Winter 2021 | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

GERMAN 120B: Fairy Tales

Fairy tales loom largely in our lives. They are 'weird,' but not shallow or irrelevant: they tell the 'extraordinary' in different traditions and facilitate cross-and transcultural dialogues between them. In this course, we will read German fairy tales from the Grimm Brothers, Novalis, Tieck, Bettina von Arnim, E.T.A. Hoffmann, etc., focus on their connections to the stories in other traditions, and explore their transformations in various media from oral storytelling to films, comic books, and music videos. We will reinterpret these fairy tales by using methodologies derived from psychoanalysis, folklore, gender, and race studies and open a creative environment for your own tales. Taught in German. Prerequisite: GERLANG 3 or permission of instructor.
Last offered: Autumn 2021 | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

HISTORY 200B: Doing Environmental History: Water Justice

This course is an introduction to the field of environmental history, or the study of how humans have influenced, and have been influenced by, diverse environments over time. We will employ various sources (written, visual, aural) to learn about different methods of doing environmental history with a focus on water justice, or how access to freshwater has historically reflected racial, gender and class disparities at multiple levels, from families to communities (urban and rural), states, nations, and empires, especially with the rise of industrial capitalism from the late 19th century and increasing scientific understanding of climate change in the late 20th century. Final assignments may be multi-media (Youtube, TikTok, Podcasts, etc) as well as traditional research papers.
Terms: Win | Units: 5 | UG Reqs: WAY-CE, WAY-SI
Instructors: ; Wolfe, M. (PI)

HISTORY 201D: History Goes Pop! Songwriting the Past (HISTORY 301D)

Historical research doesn't always take the form of a thesis, an article, or a book. Sometimes, research leads to film, museum exhibits, works of art, or... music. In this class, students will collaborate to write, record, and produce original pop music (perhaps even an entire album) based on original research in Stanford's wealth of archives and Special Collections. Background in music is NOT required.
Last offered: Spring 2020 | Units: 3 | UG Reqs: WAY-A-II, WAY-CE

ILAC 111Q: Texts and Contexts: Spanish/English Literary Translation Workshop (COMPLIT 111Q, DLCL 111Q)

The Argentinian writer and translator, Jorge Luis Borges, once said, 'Cada idioma es un modo de sentir el universo.' How are modes of feeling and perception translated across languages? How does the historical context of a work condition its translation into and out of a language? In this course, you will translate from a variety of genres that will teach you the practical skills necessary to translate literary texts from Spanish to English and English to Spanish. By the end of the term, you will have translated and received feedback on a project of your own choosing. Discussion topics may include: the importance of register, tone, and audience; the gains, in addition to the losses, that translations may introduce; the role of ideological, social-political, and aesthetic factors on the production of translations; and comparative syntaxes, morphologies, and semantic systems. Preference will be given to sophomores but freshman through seniors have enjoyed this course in the past. Course taught in Spanish.
Last offered: Winter 2023 | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

ILAC 113Q: Borges and Translation (DLCL 113Q)

Borges's creative process and practice as seen through the lens of translation. How do Borges's texts articulate the relationships between reading, writing, and translation? Topics include authorship, fidelity, irreverence, and innovation. Readings will draw on Borges's short stories, translations, and essays. Taught in Spanish. Prerequisite: 100-level course in Spanish or permission of instructor.
Last offered: Autumn 2017 | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

ILAC 176: Forms of Poetry at Home and Abroad: A Workshop (COMPLIT 176)

Poets have long relied on formal structures to write into surprise and wonder. We know of structures such as the sonnet and the sestina, but what about the corrido, ghazal, haiku, jintishi, landay, lira, l¿c b¿t, qa¿¿da, pantoum, romance, rondeau, sijo, than-bauk, and triolet? How might we reimagine poetic forms in English by looking to the past at home and abroad?In this poetry workshop, you will write an original poem each week. Assigned readings will illustrate the development of specific forms from language traditions around the world and the ways in which they've crossed into English-language poetry. Previous experience with creative writing not required.
Terms: Win | Units: 3-5 | UG Reqs: WAY-CE
Instructors: ; Santana, C. (PI)

ILAC 241: Fiction Workshop in Spanish

Spanish and Spanish American short stories approached through narrative theory and craft. Assignments are creative in nature and focus on the formal elements of fiction (e.g. character and plot development, point of view, creating a scene, etc.). Students will write, workshop, and revise an original short story throughout the term. No previous experience with creative writing is required. Readings may include works by Ayala, Bolaño, Borges, Clarín, Cortázar, García Márquez, Piglia, Rodoreda, and others. Enrollment limited.
Last offered: Winter 2018 | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

ILAC 242: Poetry Workshop in Spanish (COMPLIT 242)

Latin American and Spanish poetry approached through elements of craft. Assignments are creative in nature and focus on the formal elements of poetry (meter, rhythm, lineation, rhetorical figures and tropes) and the exploration of lyric subgenres (e.g. ode, elegy, prose poem). Students write original poems throughout the quarter. No previous experience with creative writing is required. Course taught in Spanish. Enrollment limited.
Last offered: Winter 2023 | Units: 3-5 | UG Reqs: WAY-CE

ITALIAN 154E: Film & Philosophy CE (FRENCH 154E, PHIL 193E, PHIL 293E)

Issues of authenticity, morality, personal identity, and the value of truth explored through film; philosophical investigation of the filmic medium itself. Screenings to include Blade Runner (Scott), Do The Right Thing (Lee), The Seventh Seal (Bergman), Fight Club (Fincher), La Jetée (Marker), Memento (Nolan), and Eternal Sunshine of the Spotless Mind (Kaufman). Taught in English. Satisfies the WAY CE.
Last offered: Winter 2019 | Units: 3 | UG Reqs: WAY-CE

ITALIC 92: Art Worlds: Conversations between Artists and Scholars

ITALIC 92, Art Worlds: Conversations between Artists and Scholars. This course is built around a series of conversations between nine scholar/critic and artist pairs. We will be entering the conversation in media res, as it were, since all of these pairs have histories together; they've had studio visits, late-night phone calls, email and text conversations. Usually the scholar has written about the artist and maybe the artist has suggested reading and viewing lists to the scholar. They've helped each other feel seen, and often be seen in a more literal way.The conversations will concentrate on these questions: How do artists and scholars work across the divide between practice and theory? How should you build your art world and who will be in it? The pairs will discuss their respective practices (art-making, writing, researching, community-building) and engage in conversation about the artist's work. In advance of each conversation, students will read about something written by the scholar/critic about the artist. Each artist will also design a short art-making prompt for enrolled students to complete and share through the course website. Students will share their artworks weekly in small critique groups.
Terms: Win | Units: 1-2 | UG Reqs: WAY-CE
Instructors: ; Beil, K. (PI); Sax, S. (PI)

ITALIC 93: Art Everywhere: How Art Moves and Moves Us

How does art move around the world? Most university courses in the history of the arts are divided either by geography or time period, as well as artistic discipline. But these simple distinctions are not natural to the production or reception of art itself. Although it might be easy to assume that art is made out of materials close at hand and seen or experienced chiefly by local makers, artists have often sought out distant materials and unfamiliar ideas, which are prized for their scarcity or their very distance from what is local and familiar. Historically these movements have revealed global power structures, as well as local interest and agency in ways that can be both far reaching and narrowly focused. Globalization is commonly equated with contemporary multinational corporations, from Apple to Amazon to AliExpress, but earlier periods of global exchange have also materially shaped what art is and can be. Art can reflect and reveal a global movement of peoples and ideas, as well as the raw materials that make art possible - whether words, woods, animals, minerals or melodies. We will focus in this class on a series of case studies that explore how art moves - and why these movements move artists and the people who are influenced by their work. Lectures will feature scholars and artists who address aspects of global exchange or movement in their work. In a series of workshops, students will work towards creating a genealogical project that similarly investigates how origins and movement have enabled and inspired art-making. We think of the class as an atlas for your own investigations into how art moves and how it may move you.
Terms: Spr | Units: 3 | UG Reqs: College, THINK, WAY-A-II, WAY-CE
Instructors: ; Beil, K. (PI); Sax, S. (PI)

ITALIC 100: ITALIC Seminar: Notes to a Young Artist

Working with the Haas Center, students in this seminar will create a mini-magazine/online course about art to share with students at a Bay Area high school. You will assemble a list of suggested readings and brief essays on key artistic texts and concepts, as well as images and links to the artistic examples you find most inspiring. You will create a variety of media about these ideas and artists, from illustrated slideshows to video essays or podcasts to short explanatory texts and longer personal essays. The guiding question of the course is: What does a young artist need to know?
Last offered: Summer 2022 | Units: 4 | UG Reqs: WAY-CE

JAPAN 126: Japanese Functional Objects (JAPAN 226)

This course focuses on the creation of objects at the boundary between the aesthetic allure of fine art and the utilitarian practicality of everyday life. It is also about how we value the objects with which we surround ourselves, connected to issues that go from sustainability to the intimacy of the handmade - of the little but precise tool marks that evoke the skilled expertise of years spent at the workbench. Traditionally in Japan the distinction between a work of art and a utilitarian object was inessential. An aesthetic object acquired its cultural identity and social value precisely because it could be used. Famous examples of this duality can be found in tea ceremony ceramics, complex architectural joinery, lavish fabric design, and fine temple-inspired cuisine. This is true even for painting and calligraphy: illustrated paper-covered architectural partitions were as useful in keeping a room warm as in serving as the highlight of a social gathering; hanging scrolls and flower arrangements displayed in a purpose-built alcove (tokonoma) conveyed delicate political and cultural messages. At a modern museum, as soon as an object is acquired and accessioned into the collection, it ceases to be available to be touched, smelled, or weighed in one's hands. The only contact with warm bodies comes now through the gloved hands of a few trained professionals. A tokonoma alcove, by contrast, has no glass. What is more, a mere hint by the guest will prompt the host to retrieve the object displayed and offer it for close examination, or, as was often the case, actual use by the guests. The sense of closeness between object and body in premodern Japan was intensified by the fact that users were often makers themselves. Socialized utilization became the perfect venue for the assessment, evaluation, and explication of both the techniques of fabrication and the decisions inherent to artistic creation. For these reasons, the ideal way to study Japanese functional objects is to immerse oneself in the tradition by trying one's hand at the fundamental tools and techniques. This course will combine readings, lectures, and practical hands-on training in two core traditional disciplines: woodworking and ceramics. Traditional hand tools will be provided for students to customize and keep. This dimension of the course is made possible by the generous support of the Halpern Family Foundation. Attempts to broker a place for traditional craftsmanship in a context of mass production are at the core of modern movements such as William Morris's Arts and Crafts, Walter Gropius's Bauhaus, and Yanagi Soetsu's Mingei. This course is designed for students with interests in making, art history, engineering, anthropology, studio, intellectual history, and the material culture of East Asia more generally. No previous technical expertise required. Course taught in English. Venue: PRL
Last offered: Winter 2022 | Units: 3 | UG Reqs: WAY-A-II, WAY-CE

JAPAN 191: Sharing Conversations Across Generations: The Magic of Haiku (ASNAMST 191, JAPAN 291)

This course explores what communicative practices can enhance the inclusion of persons living in different life stages in a community. We consider how verbal or non-verbal interactions can contribute to transforming society into one in which marginalized persons such as older adults (possibly living with compromised cognitive conditions) can be integrated as citizens of the community. A primary focus is on the role of creative verbal arts in fostering cross-generational understanding, in particular, creating the short Japanese poetic form, haiku. As part of community-engaged learning, students will experience and examine how activities based on creative verbal arts, along with conversations that emerge during such activities, can promote self-expression and meaningful intergenerational connections. As a community-engaged learning course, students will learn through engaging in activities with persons in local communities. The service-learning component will entail participation in a haiku-making activity with older adults in local adult day services facilities and assisted living residences to consider how to create a more age-inclusive society through working with local communities, and to become effective citizens in today's diverse society. This course is open to undergraduate students, graduate students, and medical school students. Students can take the course for 3-5 units. Students enrolled in the full 5 units will complete the service-learning component described above along with the core component of the course. Students enrolled for 3 units do not need to complete the service-learning component. Cardinal Course certified by the Haas Center for Public Service.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-CE, WAY-EDP

JEWISHST 147B: The Hebrew and Jewish Short Story (COMPLIT 127B)

Short stories from Israel, the US and Europe including works by Agnon, Kafka, Keret, Castel-Bloom, Kashua, Singer, Benjamin, Freud, biblical myths and more. The class will engage with questions related to the short story as a literary form and the history of the short story. Reading and discussion in English. Note: To be eligible for WAYS credit, you must take the course for a Letter Grade.
Last offered: Winter 2023 | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

LEAD 104: Tools for Meaningful Communities (ANTHRO 104, LIFE 104)

How can we live together and honor both difference and belonging? How do we create community amidst divisiveness and the existential threats of climate change, oppression of marginalized peoples, and our disconnection from ourselves and each other? We are inherently relational and have the potential to heal, flourish, and lead. Leadership and changemaking must be rooted in a commitment to deep inner work that cultivates wellbeing, insight, and wisdom. Inner work radiates outward to shape the systems that create and sustain our societies. In this class, grounded in your experiences at Stanford, you will cultivate skills and tools to enhance your intrapersonal, interpersonal and extrapersonal capacities to enact change for yourself and others. Working in teams, you will learn about and practice building community through the application of interdisciplinary frameworks that provide multiple perspectives on the transformation of the self, our relations with each other, our communities, and societal systems.
Last offered: Winter 2023 | Units: 3 | UG Reqs: WAY-CE, WAY-EDP

LIFE 53Q: Storytelling in Medicine (MED 53Q)

Stories are at the core of medical practice, but the skills developed are applicable across disciplines, including technology and business. Storytelling in Medicine is a new sophomore seminar designed to teach skills in multiple modalities of storytelling including narrative, oral, social media, academic presentations and visual storytelling for different audiences. This seminar combines small groups, interactive workshops, and guest speakers who are experts in their fields of medicine. This will also include editing and support to complete your own story by the end of the seminar.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Edwards, L. (PI); Lin, B. (PI)

LIFE 91CL: Self & Science (PWR 91CL)

"Self & Science" mines the intersection of memoir and science writing. In this advanced experimental writing course, students will read a selection of essays by writers including Lewis Thomas, Oliver Sacks, Annie Dillard, and Mark Doty, which illustrate the shared intellectual foundation in observation of scientific and poetic inquiry. Building on these readings, students will be challenged to produce an experimental essay that transgresses genre boundaries in the service of considering how personal reflection can narrate researched discoveries. Over the course of the quarter, students are invited to bolster their overall communication acumen, enhance their ability to share valuable discoveries beyond the confines of their major discipline, and practice the difficult bliss of engaging a discerning public audience. Click here for course video and full description: https://undergrad.stanford.edu/programs/pwr/courses/advanced-courses/self-science
Last offered: Winter 2023 | Units: 3 | UG Reqs: WAY-CE

LIFE 99: Kinesthetic Delight: Movement and Meditation (TAPS 99, WELLNESS 99)

The words meditation and mindfulness often conjure images of people sitting quietly in peaceful contemplation. However, as contemplatives and scholars from various fields have argued, though the brain resides in the cranium, the mind functions throughout the body. Students in this class will playfully explore embodied and dynamic forms of meditation and mindfulness through movement in an effort to integrate the mind and body. Examples of modalities include Lisa Nelson's Tuning Scores, Barbara Dilley's Contemplative Dance Practices, and other movement practices including qigong, laughter yoga, and psychogeography. Students will work in teams to develop their own movement-meditation scores inspired by these practices.
Terms: Win | Units: 1-2 | UG Reqs: WAY-CE | Repeatable 2 times (up to 4 units total)
Instructors: ; Otalvaro, G. (PI)

LIFE 102: Body Mapping: Embracing the Embodied Experiences of Your Life

Utilize an anthropological lens to combine traditional analytic research with experiential contemplative practice to strengthen awareness of the body and embodied experiences. Explore cultural norms around the body as influenced by racial stereotypes, gender hierarchies, and political/economic/religious history. Investigate and express one's own body narrative through written, verbal, and creative methodologies.
Last offered: Winter 2020 | Units: 3 | UG Reqs: WAY-CE

LIFE 104: Tools for Meaningful Communities (ANTHRO 104, LEAD 104)

How can we live together and honor both difference and belonging? How do we create community amidst divisiveness and the existential threats of climate change, oppression of marginalized peoples, and our disconnection from ourselves and each other? We are inherently relational and have the potential to heal, flourish, and lead. Leadership and changemaking must be rooted in a commitment to deep inner work that cultivates wellbeing, insight, and wisdom. Inner work radiates outward to shape the systems that create and sustain our societies. In this class, grounded in your experiences at Stanford, you will cultivate skills and tools to enhance your intrapersonal, interpersonal and extrapersonal capacities to enact change for yourself and others. Working in teams, you will learn about and practice building community through the application of interdisciplinary frameworks that provide multiple perspectives on the transformation of the self, our relations with each other, our communities, and societal systems.
Last offered: Winter 2023 | Units: 3 | UG Reqs: WAY-CE, WAY-EDP

LIFE 105: Meeting the Moment: Inner Resources for Hard Times (WELLNESS 105)

In the face of social, economic, environmental, and public health upheavals, many of us are experiencing an unprecedented degree of uncertainty, isolation, and stress affecting academic and day-to-day life. Challenging times ask us, in a voice louder than usual, to identify sources of strength and develop practices that sustain and even liberate. In this experiential, project-oriented class: Explore practices to find true ground and enact positive change for self and community; Cultivate natural capacities of presence, courage, and compassion; Develop resources to share with one another and the entire Stanford community.
Terms: Aut, Win, Spr | Units: 1-2 | UG Reqs: WAY-CE | Repeatable 3 times (up to 3 units total)

LIFE 120: Yoga Psychology for Resilience and Creativity (PSYC 120, TAPS 102L)

In this integrative class, learn about the practice, psychology, and philosophy of yoga as a conceptual model for well-being. Supported by findings in modern neuroscience and psychological research, yoga is an ancient, holistic modality that integrates body, mind, and community through ethical awareness, movement, breathing, and meditation. This integration lends itself to embodied, creative expression as wellas other healing modalities you will explore, such as theater and performance, dance, qigong, and laughter yoga. Yoga philosophy and postures are drawn from Dr. Christiane Brem's protocol developed as a therapeutic yoga class. The weekly performance exercises we will practice were developed by theater makers such as Augusto Boal and the UK-based performance duo Curious.
Last offered: Spring 2022 | Units: 2 | UG Reqs: WAY-CE

LIFE 121: Creative and Contemplative Movement: Intro to Qigong (DANCE 121)

In the class, students will be introduced to qigong as moving meditation. Qigong, loosely translated as energy cultivation, is a branch of Traditional Chinese Medicine based on the principles of Buddhism and Taoism. It can integrate the mind and body and cultivate awareness of the present moment. In this class, we will conceptualize qigong through the lenses of both creativity and contemplation and practice it as a slow dance-meditation. Students will learn exercises based on the Yoqi Six Phases of Qi Flow, developed by Marisa Cranfill, as well as engage in creative, improvisational movement. Readings to support the practice include writings by contemporary scholars and practitioners, and articles about the most recent evidence-based research. Assignments include short written reflections as well as solo and collaborative creative projects.
Terms: Spr | Units: 1-2 | UG Reqs: WAY-CE
Instructors: ; Otalvaro, G. (PI)

LIFE 124: Counterstory in Literature and Education (CSRE 141E, EDUC 141, EDUC 341)

Counterstory is a method developed in critical legal studies that emerges out of the broad "narrative turn" in the humanities and social science. This course explores the value of this turn, especially for marginalized communities, and the use of counterstory as analysis, critique, and self-expression. Using an interdisciplinary approach, we examine counterstory as it has developed in critical theory, critical pedagogy, and critical race theory literatures, and explore it as a framework for liberation, cultural work, and spiritual exploration.
Last offered: Spring 2022 | Units: 3 | UG Reqs: WAY-CE, WAY-EDP

LIFE 125: The Stillness of the Dunes

An advanced writing course in nonfiction craft, drawing, and contemplative practice. a significant portion of each class meeting will focus on the development and sharpening of writing craft, especially of the essay, in a hybrid form both scholarly and personal. We will also explore writing as meditative practice, through examples and through short exercises. We will deepen our cultural understanding of the desert and its impact, through art, literature, philosophy, film, and contemplative practice, and the course will build toward a four-day camping trip to the dunes of Death Valley, six weeks into the quarter.
Last offered: Winter 2020 | Units: 3 | UG Reqs: WAY-CE

LIFE 144: Transforming Self and Systems: Crossing Borders of Race, Nation, Gender, Sexuality, and Class (ASNAMST 144, CSRE 144, FEMGEN 144X)

Exploration of crossing borders within ourselves, and between us and them, based on a belief that understanding the self leads to understanding others. How personal identity struggles have meaning beyond the individual, how self healing can lead to community healing, how the personal is political, and how artistic self expression based in self understanding can address social issues. The tensions of victimization and agency, contemplation and action, humanities and science, embracing knowledge that comes from the heart as well as the mind. Studies are founded in synergistic consciousness as movement toward meaning, balance, connectedness, and wholeness. Engaging these questions through group process, journaling, reading, drama, creative writing, and storytelling. Study is academic and self-reflective, with an emphasis on developing and presenting creative works in various media that express identity development across borders.
Last offered: Spring 2021 | Units: 5 | UG Reqs: WAY-CE, WAY-EDP

LIFE 150G: Performing Race, Gender, and Sexuality (ARTSINST 150G, CSRE 150G, CSRE 350G, FEMGEN 150G, TAPS 150G)

In this theory and practice-based course, students will examine performances by and scholarly texts about artists who critically and mindfully engage race, gender, and sexuality. Students will cultivate their skills as artist-scholars through written assignments and the creation of performances in response to the assigned material. Attendance and written reflection about a live performance event on campus are required. Students will also learn various meditation practices as tools for making and critiquing performance, in both our seminar discussions and performance workshops. We will approach mindfulness as method and theory in our own practice, as well as in relation to the works studied. We will also consider the ethics and current debates concerning the mindfulness industry. Examples of artists studied include James Luna, Nao Bustamante, Renee Cox, William Pope.L, Cassils, boychild, Curious, Adrian Piper, Xandra Ibarra, Valérie Reding, Guillermo Gomez-Peña, and Ana Mendieta.
Last offered: Autumn 2022 | Units: 4 | UG Reqs: WAY-CE, WAY-EDP

LIFE 170: Laughter & Play for Wellbeing (TAPS 170W, WELLNESS 170)

Learn about and practice laughter yoga, combined with theater exercises. Laughter yoga (distinct from traditional movement-based yoga) is a modality that integrates laughter exercises with yogic breathing. Explore the growing field of research on laughter yoga and its positive effects on wellbeing and other health outcomes. Examine the various dimensions of laughter yoga as a form of cardiovascular and aerobic exercise, mindfulness, and play. Use theater exercises to leverage the power of performative, healing laughter and to cultivate embodied awareness, creativity, resilience, and joy. Readings and exercises will draw from the work of pioneers in the fields of laughter wellness and socially engaged theater, such as Madan Kataria and Augusto Boal.
Last offered: Winter 2023 | Units: 1-2 | UG Reqs: WAY-CE

LIFE 180: Art, Meditation, and Creation (ARTHIST 180, ARTSINST 280)

Art and meditation invite us to be fully present in our minds and bodies. This class will give you tools to integrate mind and body as you explore artworks on display at the university's museums and throughout campus. In your engagement with activity-based learning at these venues, you will attend to perception and embodiment in the process of writing and making creative work about art. You will also learn meditation techniques and be exposed to authors who foreground the importance of the body in both writing and making art. For your meditation-centered and research-based final creative project, you will have the option of writing an experimental visual analysis or devising a performance.
Last offered: Spring 2023 | Units: 3 | UG Reqs: WAY-A-II, WAY-CE

LIFE 183G: Sing & Be Well: Exploring and Integrating Wellness Through Singing (MUSIC 183G)

Finding an expressive outlet is essential in a world where stress and anxiety are common. Singing has been proven to be one such outlet. This immersive course explores the health benefits of singing. In addition to research and expert guest lectures, the course emphasizes vocal technique, mindfulness, and group singing through vocal improvisation. Singers of all levels will discover the connection between singing, joy, and holistic health.
Terms: Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 2 times (up to 2 units total)
Instructors: ; Jimenez, N. (PI)

ME 14AX: Design for Silver and Bronze

This class will teach piercing saw work in sterling silver, light forming, embossing and potentially enameling. Equal attention will be given to technique and manufacturing. Students will receive a tool kit and materials prior to the start of the Arts Intensive. Sara and Amanda have been teaching ME298: Silversmithing in Design at Stanford for 17 years, they are full time designers at RedStart Design, LLC and also Lecturers in Design in the Mechanical Engineering Department.
Terms: Sum | Units: 2 | UG Reqs: WAY-CE

ME 248: Silver Pendant Project

In ME248 a C/NC class, students design and create a silver pendant. Beginning with a basic introduction to design and CAD, students use a computer aided design tool to create a 3D model of their pendant design. Next, using machines and processes at the Product Realization Lab, students build a version of their part in a wax-like material. This part is then used in a lost-wax investment casting process to turn the printed part into a cast silver part. Finally, the students are introduced to a set of hand tools they will use to turn their cast silver part into a finished silver pendant. Students who take ME248 for 1 unit complete one pendant, and take 4 2 hour labs: wax part preparation lab, casting lab, and two finishing labs. Students who take ME248 for 2 units complete a second project beyond the initial pendant, and in addition to the 4 labs will do 3 additional 2 hour labs: a wax printing lab, a sprueing/gating lab and an investing lab. This course must be taken for 2 units to be eligible for Ways credit. Summer offering not eligible for Ways credit.
Terms: Spr, Sum | Units: 1-2 | UG Reqs: WAY-CE

MED 53Q: Storytelling in Medicine (LIFE 53Q)

Stories are at the core of medical practice, but the skills developed are applicable across disciplines, including technology and business. Storytelling in Medicine is a new sophomore seminar designed to teach skills in multiple modalities of storytelling including narrative, oral, social media, academic presentations and visual storytelling for different audiences. This seminar combines small groups, interactive workshops, and guest speakers who are experts in their fields of medicine. This will also include editing and support to complete your own story by the end of the seminar.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Edwards, L. (PI); Lin, B. (PI)

MI 110: Photographing Nature

Utilizes the idiom of photography to learn about nature, enhance observation, and explore scientific concepts. Builds upon the pioneering photographic work of Eadweard J. Muybridge on human and animal locomotion. A secondary goal is to learn the grammar, syntax, composition, and style of nature photography to enhance the use of this medium as a form of scientific communication and also to explore the themes of change across time and space. Scientific themes to be explored include: taxonomy, habitat preservation, climate change; species diversity; survival and reproductive strategies; ecological niches and coevolution, carrying capacity and sustainability, population densities, predation, and predator-prey relationships, open-space management, the physics of photography. Extensive use of field trips and class critque.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Siegel, R. (PI)

MUSIC 12A: Introductory Piano Class

(A=level 1; B=level 2; C=level 3) Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Class is closed by design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment. Preference to department majors. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE
Instructors: ; Zerlang, T. (PI)

MUSIC 12B: Introductory Piano Class

This class is closed by design. To enroll, please sign up on the Axess waitlist and show up on the first day to receive a permission number for re-enrollment. Your place on the waitlist will be considered a reservation. If the waitlist is closed, there are no more spaces in the class. (A=level 1; B=level 2; C=level 3) Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE
Instructors: ; Zerlang, T. (PI)

MUSIC 12C: Introductory Piano Class

This class is closed by design. To enroll, please sign up on the Axess waitlist and show up on the first day to receive a permission number for re-enrollment. Your place on the waitlist will be considered a reservation. If the waitlist is closed, there are no more spaces in the class. (A=level 1; B=level 2; C=level 3.) May be repeated for credit a total of 14 times. Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Zerlang, T. (PI)

MUSIC 17AX: Key-Notes: A Piano and Voice Exploration

The objective of the course is to teach piano, improve music reading skills and music theory knowledge. The course is designed for a multi-level class room, so complete beginners and intermediate pianists can learn in this self-paced course. There will be an element of course tailoring for the needs of individual student.&lt;br&gt;&lt;br&gt;Goals and objectives of the class are: to learn/improve keyboard technique: fingering, hand position, touch etc., to improve sight reading and sight singing skills, to play examples of classical, jazz and popular piano literature, to participate in ensemble playing and singing.&lt;br&gt;&lt;br&gt; Since this is a skills-based course, ongoing work daily and regular class attendance will be essential.
Terms: Sum | Units: 2 | UG Reqs: WAY-CE

MUSIC 17P: Keyboard Explorations

This course is designed for students who want to further their skills in music, whether experienced on the piano or not. The class will be divided into groups according to experience level. Whatever the level of their previous experience, students will improve their keyboard musicianship via both solo and ensemble repertoire. Students will perform live in different settings and also - as a final project - integrate texts or images in a recording of their playing.
Terms: Aut | Units: 1-2 | UG Reqs: WAY-CE | Repeatable 2 times (up to 2 units total)
Instructors: ; Catsalis, M. (PI)

MUSIC 18AX: Audiovisual Performance

The unification of music and visual arts has been attempted throughout history, opera being one example. In the 20th Century, sounds and moving images have been syncretized in various art forms, such as film or video art, as well as in popular culture (television, music video, the Internet, etc.). Today, with fast technological developments and the convenience of hardware/software tools, media artists employ both sonic and visual elements in their performance practice. What are the interrelations between music, video, and themselves as performers. Students will perform with music and video in synergy. The course explores various theories and practices of engaging audiovisual media in the context of stage performance. Examples come from the scenes of experimental music and multimedia performance. Other audiovisual categories to be approached: avant-garde film, visual music, video art, music video, etc. Readings, listening-viewings, discussions, and analyses of relevant works will provide a conceptual framework. Labs and assignments will give students hands-on experience in crafting and performing their own audiovisual works. The course culminates with a public show.
Terms: Sum | Units: 2 | UG Reqs: WAY-CE
Instructors: ; Basica, C. (PI)

MUSIC 19A: Introduction to Music Theory

For non-music majors and Music majors or minors unable to pass the proficiency test for entry to MUSIC 21. The fundamentals of music theory and notation, basic sight reading, sight singing, ear training, keyboard harmony; melodic, rhythmic, and harmonic dictation. Skill oriented, using piano and voice as basic tools to develop listening and reading skills.
Terms: Aut, Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
Instructors: ; Berger, T. (PI); Rose, F. (PI)

MUSIC 19B: Intermediate Music Theory

This course is an introduction to music theory geared toward students who have basic literacy skills (i.e. fundamental notation, identifying major and minor scales, keys, etc). Using musical materials from repertoire selected from campus and area concerts, and incorporating the opportunity to attend these concerts, the course will introduce elements of harmony, melody, form, orchestration and arrangement. The course is an appropriate successor to Music 19A. Students who successfully complete Music 19B can go on directly to Music 21.
Terms: Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
Instructors: ; Berger, T. (PI)

MUSIC 20A: Jazz Theory (AFRICAAM 20A)

Introduces the language and sounds of jazz through listening, analysis, and compositional exercises. Students apply the fundamentals of music theory to the study of jazz. Prerequisite: Music 19, consent of instructor, or satisfactory demonstration of basic musical skills proficiency on qualifying examination on first day of class. This class is closed by design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment.
Terms: Aut | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
Instructors: ; Nadel, J. (PI)

MUSIC 20B: Advanced Jazz Theory

Approaches to improvisation and composed jazz lines through listening, transcribing, analysis, and compositional exercises. Topics include: chord/scale theory, melodic minor harmony, altered chords, and substitute harmony. Prerequisite: 20A or consent of instructor.
Terms: Win, Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
Instructors: ; Nadel, J. (PI)

MUSIC 20C: Jazz Arranging and Composition

Jazz arranging and composition for small ensembles. Foundation for writing for big band. Prerequisite: 20A or consent of instructor.
Last offered: Spring 2022 | Units: 3 | UG Reqs: WAY-A-II, WAY-CE

MUSIC 21: Introduction to Tonal Theory

Preference to majors. Introduction to tonal theory. Practice and analysis. Diatonic harmony focusing on melodic and harmonic organization, functional relationships, voice-leading, and tonal structures. Students must concurrently enroll in an Ear-training and musicianship lab (MUSIC 24a, 24b, or 24c as appropriate). Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year. Enrollment limited to 40. Prerequisites: (1) Piano Proficiency Exam (must be passed within the first two weeks of the term) or MUSIC 12A (may be taken concurrently); (2) Passing grade on a basic musical skills proficiency examination on the first day of class or MUSIC 19.
Terms: Aut, Win | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE

MUSIC 22: Intermediate Tonal Theory

Preference to majors. Introduction to chromatic harmony focusing on secondary functions, modulations, and harmonic sequences.  Analysis of musical forms and harmonizations complemented by harmonic and melodic dictation, sight-singing, and other practical skills. Students must concurrently enroll in an ear-training and musicianship lab ( MUSIC 24A, 24B, or 24C as appropriate). Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year. Prerequisites: (1) MUSIC 21; (2) Piano Proficiency Exam or MUSIC 12B (may be taken concurrently); or consent of instructor.
Terms: Win, Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE

MUSIC 23: Advanced Tonal Theory

Preference to majors. Continuation of chromatic harmony such as mode mixture, Neapolitan, augmented sixth chords, enharmonic modulation, complex forms of the late Romantic and early Modern period, and the transition to post-tonal theory (church modes, octatonic, pentatonic, whole-tone scales, amongst other topics). Students must concurrently enroll in an ear-training and musicianship lab ( MUSIC 24A, 24B, or 24C as appropriate). Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year. Prerequisites: (1) MUSIC 22; (2) Piano Proficiency Exam or MUSIC 12C (may be taken concurrently); or consent of instructor.
Terms: Aut, Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE

MUSIC 26N: Japanese Arts: a Creative Exploration

The striking originality of Japanese contemporary culture seems to defy unifying pressures of globalization. What are the sources of this originality? Can it be traced to the unique and sophisticated art forms like rock gardens, haiku, tea ceremony, martial arts, ikebana and Noh Theater or to the illusive aesthetic notions of wabi, sabi, yûgen, ma or jo-ha-kyû? Exploration of Japanese arts through comparative examination and direct engagement. Creative projects and workshops in traditional Japanese arts.
Last offered: Spring 2023 | Units: 4 | UG Reqs: WAY-A-II, WAY-CE

MUSIC 32N: Sculpting with Sounds, Images, and Words

Throughout history and from East to West, cultures abound in multimedia forms. Whether in Coldplay's Music Video or Fantasia, Pepsi TV adds or Wagner's opera, Miyazaki anime or traditional Noh Theater of Japan, the three modes of expression (sounds, images, and word) are interwoven in distinctive ways. What are their individual and combined powers? How can one harness them in an online context? Can Web be a stage for multimedia theater? What is unique about the poetry of intermodal metaphor? The course will be an opportunity to face these questions in creative web-based projects as well as through in-class viewing of multimedia works, analysis and debates, readings, and student presentations. The seminar will be taught at the Center for Computer Research in Music and Acoustics where students will have access to new media technologies. Prior experience in music, literature, art practice or computer programming is welcome but not required.
Last offered: Autumn 2022 | Units: 3 | UG Reqs: GER:DB-Hum, WAY-CE

MUSIC 34N: Performing America: The Broadway Musical

Musical theater and the representation of American identities in the twentieth century to the present. Issues of class, race, gender, and sexuality; intersections with jazz, rock, and pop; roles of lyricist, composer, director, choreographer, producer, performers. Individual shows (Showboat, Oklahoma, West Side Story, Company, Les Mis¿rables, Into the Woods, Wicked, Hamilton, Dear Evan Hansen, Heathers); musical theater "song types" across eras; show tunes in popular culture at large; musicals on film, television, and social media. Opportunities for performance and attending local productions.
Terms: Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
Instructors: ; Grey, T. (PI)

MUSIC 60: How We Sing: The Voice, How It Functions, and the Singer's Mind (TAPS 60)

A weekly lecture course for singers, pianists, directors, conductors, and anyone who is interested in the art and craft of the voice. The voice is an instrument whose sounds are determined by its structure and the choices the singer makes. Students will learn how the voice works: the physiology of the instrument, breathing, resonance, and adjustments the singer makes to the instrument to produce sounds appropriate for various styles of vocal music. This course is intended for singers, pianists, conductors, musical directors and directors of groups that include singers, regardless of style or size of ensemble, with the goal of promoting excellent and healthy vocal performance. Ability to sing and/or read music is not required; this is not a voice class.
Last offered: Spring 2023 | Units: 1 | UG Reqs: WAY-CE

MUSIC 65A: Voice Class I

If you've always wanted to learn how to sing, this class is for you. No audition or previous vocal experience is required for students interested in taking this voice class which is designed to teach you about the physical processes involved with healthy singing. The skills you learn will help you expand your vocal range, build a foundational vocal technique, and enhance the presence of your voice. This class is closed by design. Enrollment for MUSIC 65A is based on your position on the waitlist AND if you attend the first class. Please register on the waitlist and attend the first class meeting. Permission numbers will be granted to those who are accepted into the class. Limit 5-6 students per section. Each class lasts 50 minutes. May be repeated for credit. Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero-unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Liupaogo, B. (PI)

MUSIC 65AS: Voice Class 1: Beginning Voice, Level 1 (Group)

Group (6 students to a section) beginning voice. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Sum | Units: 1 | UG Reqs: WAY-CE | Repeatable 5 times (up to 5 units total)
Instructors: ; Linduska, M. (PI)

MUSIC 65B: Voice Class II

This course is a continuation of Voice Class I (MUSIC 65A), focusing on vocal technique and incorporating beginning performance practice. The class is open to all students, whether or not they have previously taken MUSIC 65A. This class is closed by design. Enrollment is by audition only. You must submit an audio recording of one song of your choice with piano accompaniment or a musical track/karaoke to the instructor prior to the first class. A second audition will happen in the first class meeting, where your vocal range and ability to match pitch will be assessed. You must also register on the waitlist AND attend the first class to be considered for enrollment, but admission to the class is NOT based on your position on the waitlist. Permission numbers will be granted to those who are accepted into the class. Limit of up to 5 students per section. Each class lasts 50 minutes. May be repeated for credit. Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero-unit enrollment option available with instructor permission. See website: (https://music.stanford.edu/ensembles-lessons/applied-music-policies-and-resources) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Liupaogo, B. (PI)

MUSIC 65BS: Voice Class 2: Beginning Voice, Level 2 (Group)

Complete registration form available at: https://tinyurl.com/5n63y97k . May be repeated for credit 5 times. Zero unit enrollment option available with instructor permission. See website: (http://tinyurl.com/posmuhn) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Sum | Units: 1 | UG Reqs: WAY-CE | Repeatable 5 times (up to 5 units total)
Instructors: ; Linduska, M. (PI)

MUSIC 72A: Intermediate Piano Class

For intermediate students. May be repeated for credit a total of 14 times. Prerequisites: 12C or equivalent, audition. This class is closed by design. Please register on the waitlist and meet with Dr. Zerlang in room 111, or contact him at timzer@stanford.edu or (650) 723-1549 to receive a permission number for enrollment. Zero unit enrollment option available with instructor permission. See website:(http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Zerlang, T. (PI)

MUSIC 72C: Harpsichord Class

For beginning harpsichord students who have keyboard skills. May be repeated for credit a total of 14 times. Admission based on instructor consent. Contact instructor prior to enrolling to discuss availability. Class meets in Braun 201. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Bar-David, E. (PI)

MUSIC 72D: Jazz Piano Class

To enroll, please register on the waitlist and contact the instructor (murlow@stanford.edu) to receive a permission number for enrollment. Priority to majors and jazz-ensemble participants. Zero unit enrollment option available with instructor permission. Course meets for one hour per week at the mutual convenience of the class participants, sometime on Wed 10-9 PM or Friday 10-3 PM. Exact time to be determined during first week of instruction. Course to be taught online when COVID restrictions are in effect. Live class meeting participation is encouraged, but all classes will be recorded for convenience. Student should have access to a piano to complete assignments. Students on campus who do not have such access, please contact instructor for further information.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE
Instructors: ; Low, M. (PI)

MUSIC 72G: Gu-Zheng Class

Introduction to Chinese music through learning how to play Gu-Zheng, a 21-stringed traditional Chinese instrument. The cultural, social, and historical significance of Gu-Zheng. 15 Gu-Zheng techniques, how to read Chinese music and Gu-Zheng notation, and two simple classic Gu-Zheng pieces. All participants must enroll. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; You, H. (PI)

MUSIC 73: Intermediate Voice Class

This class is closed by design, and enrollment is by audition only. Students will work in a masterclass setting to learn more about vocal technique and performance practice (cabaret style) in preparation for a performance at the end of the quarter. Students who have taken a voice class or had previous vocal training are encouraged to audition. Please register on the waitlist and submit your video auditions directly to the instructor. You must submit one song, any genre, of your singing to a karaoke track or piano accompaniment. Please submit a performance-ready video audition to the instructor before the first class meeting. A second audition will involve singing a short song excerpt during the first-class meeting. Permission numbers will be granted to those who are accepted once all audition videos have been received and evaluated. You must register on the waitlist AND attend the first class to be considered for enrollment. Limit of 4 students per section. Each class lasts 50 minutes. May be repeated for credit. Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero unit enrollment option available with instructor permission. See website: (https://music.stanford.edu/ensembles-lessons/applied-music-policies-and-resources) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Liupaogo, B. (PI)

MUSIC 74AA: Introductory Violin Class Level 1: Beginner

Open to majors and non-majors. Focus is on beginning violin skills. Topics include brief history and physics of the instrument, and survey of repertoire. There is a fee for this class. Please visit http://music.stanford.edu for class fees and signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Last offered: Autumn 2018 | Units: 1 | UG Reqs: WAY-CE

MUSIC 74C: Classical Guitar Class

May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)

MUSIC 74D: Harp Class

May be repeated for credit a total of 14 times. Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Last offered: Spring 2023 | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)

MUSIC 75B: Renaissance Wind Instruments Class

May be repeated for credit. Please visit http://music.stanford.edu for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Myers, H. (PI)

MUSIC 76: Brass Instruments Class

May be repeated for credit a total of 14 times. Please visit http://music.stanford.edu for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)

MUSIC 76A: Tuba Class

Basic brass techniques as they apply to the tuba including warmups, breathing, and developing a daily routine. For beginning through intermediate players. Please visit http://music.stanford.edu/Academics/LessonSignups.html for audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. May be repeated for credit
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Clements, T. (PI)

MUSIC 77: Percussion Class

May be repeated for credit a total of 14 times. Please visit http://music.stanford.edu for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Thenell, M. (PI)

MUSIC 101: Introduction to Creating Electronic Sounds

Introduction to Creating Electronic Sounds enables students from a wide variety of backgrounds to cultivate conceptual and technical skills within the production of electronic sound and music composition. Lectures, readings, and group discussions will examine the evolution of recording technology as it relates to music within historical, social, and contemporary contexts. Over the course of ten weeks students will develop and produce a portfolio of creative projects, wherein the integration of one's life experiences, imagination, and musical preferences are encouraged. In addition to regular coursework, students who enroll in the class for 4 units will create and publish a 12 to 20-minute EP according to their own musical taste and technical abilities. Please note: This is not a production class with an in-depth technical focus during class time, however technical support is offered outside of regular class time. This course is a prerequisite for MUSIC 192A: Foundations of Sound Recording Technology. No previous experience required. Enrollment by application only. Permission numbers will be distributed during the first week of classes.
Terms: Aut, Win, Spr | Units: 3-4 | UG Reqs: WAY-CE

MUSIC 105: Creative Music Technology Practice

This course engages students with a practice-based dive into the creative applications of music technology towards music-making. It tasks students with investigating the answers to questions like: what unique affordances does music technology provide us to create new and novel musical experiences? How do we leverage music technology towards live performance, recording, installations, and potentially beyond? What are the pitfalls or difficulties of making music with technology? Taught with an actively collaborative and hands-on approach, students will complete creative assignments throughout the quarter that build towards an open-ended individual or small-group based creative project. Please note: Some basic coding experience is helpful, but not required.
Terms: Spr | Units: 1-3 | UG Reqs: WAY-CE
Instructors: ; McCausland, D. (PI)

MUSIC 112: Film Scoring

Through analysis and technical exercises that involve click tracks, spotting, scoring under dialogue and picture, and the creative use of overlap cues, among others, students will learn how to develop and synchronize an engaging music score that supports visual events. Prerequisite: The students will be expected to: Know how to read and write music; Know how to create scores using a music editor such as Finale, Sibelius, among others; Be familiar with MIDI sequencing; and, Be familiar with DAW such as Logic Pro X, Pro Tools, among others.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE
Instructors: ; d'Ambrosio, M. (PI)

MUSIC 120D: Jazz Improvisation

This class will focus on developing a deeper understanding of, and capacity for, jazz improvisation -- as it relates to individual expression as well as group interaction, communication, and cohesion. In-class soloing and ensemble playing; guided listening; ear training; internalization; personalization; and an awareness of the historical evolution of the jazz improvisational language will all be emphasized. The coursework will be primarily based on actual instrumental performance and practice; with an extensive listening list; and possibly some complementary composition, transcribing, self-evaluation; reading and writing assignments. Limited enrollment: Audition required. Students auditioning for Music 120D may submit the same audition material for consideration for Music 120E and vice-versa, but they are asked to make clear that they are applying for both (or, alternatively, for just one of the two, and if so, which one.) This class will be closed to enrollment, so students wishing to enroll must join the Axess waiting list. You will then be contacted with audition instructions. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 4 times (up to 12 units total)

MUSIC 120E: Advanced Jazz Improvisation

This class will focus on broadening the participants' fluency with established improvisational languages, encouraging them to trust and develop their own unique improvisational voices, and deepening their capacities for integrating those individual voices into a collaborative musical framework -- working and playing together as a group, forging a collective identity, finding a band sound. In-class soloing and ensemble playing; guided listening; ear training; internalization; personalization; transcription, composition and arranging will all be emphasized. The coursework will be primarily based on actual instrumental performance and practice; with an extensive list of tracks to listen to and tunes to learn. The class will spend ample time focusing on the repertoire from the jazz "canon" (works by jazz masters such Ellington, Monk, Parker, Shorter, Mingus, Coltrane, Coleman, etc, as well as "standards" from the American popular songbook). Participants will be encouraged to submit for consideration by the group their own ideas for material, including, but not limited to, their own original compositions or arrangements. Limited enrollment: Audition required. Students auditioning for Music 120E may submit the same audition material for consideration for Music 120D and vice-versa, but they are asked to make clear that they are applying for both (or, alternatively, for just one of the two, and if so, which one.) All who are interested are strongly encouraged to apply, with the understanding that some priority may be given to those who have already completed Music 120D. This class will be closed to enrollment, so students who would like to enroll must join the Axess wait list. You will then be contacted with audition instructions.
Terms: Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 4 times (up to 12 units total)

MUSIC 123A: Undergraduate Seminar in Composition: Rhythmic Design

Students compose weekly exercises to develop creative fluency and personal style. The course focuses on listening to examples, analysis and emulation of diverse compositional techniques involving rhythm.
Terms: Aut | Units: 1-2 | UG Reqs: WAY-CE
Instructors: ; Rose, F. (PI)

MUSIC 123B: Undergraduate Seminar in Composition: Pitch Design

Students compose weekly exercises to develop creative fluency and personal style. The course focuses on listening to examples, analysis and emulation of diverse compositional techniques involving pitch.
Terms: Spr | Units: 1-2 | UG Reqs: WAY-CE
Instructors: ; Rose, F. (PI)

MUSIC 123C: Undergraduate Seminar in Composition: World Music

The course introduces composition techniques used in traditional music from Bali, Central African Republic, India, and Japan, that the students use as inspiration to explore and develop their own composition techniques. Prerequisite: Music 19A or Instructor's permission.
Last offered: Spring 2023 | Units: 1-2 | UG Reqs: WAY-CE

MUSIC 123D: Undergraduate Seminar in Composition: Extended Performance Techniques

Extended performance techniques have become standard extension of composers' orchestration technique. The course introduces extended techniques for keyboard, string, woodwinds, brass and percussion instruments, and illustrate their potential with excerpts from the literature. Students get to explore these techniques with a quarter long research project. Prerequisite: Music 127A or Instructor's permission
Last offered: Spring 2023 | Units: 1-2 | UG Reqs: WAY-CE

MUSIC 123I: Undergraduate Seminar in Composition: Music, Art, and Intermedia (ARTSTUDI 123I)

How do music and art relate? How does one speak for, with, the other? In the past century, Western visual art turned towards abstraction and time-based works. Techniques and processes for interaction between image and sound expanded dramatically. What better place to learn about them than the Anderson Collection? Through students' own visual and aural creations, we will explore and share individual approaches to time, symbol, memory, and meaning. Previous experience in music composition is welcome but not required. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways-AII credit.
Last offered: Winter 2023 | Units: 2-3 | UG Reqs: WAY-A-II, WAY-CE

MUSIC 124A: Songwriters Workshop

Laboratory for composers of any kind of vernacular music: singer-songwriters; folk singers; laptop dance music composers; rock and pop bands; rappers; writers of instrumentals or music with lyrics; solo artists and collaborators; etc. Compositional strategies for songwriting, overview of exemplars, discussion of aesthetic issues, and development of artistic personae. Weekly critique session for students and faculty to share work and offer feedback. Music theory and literacy not required. Aimed, however, at those with at least some experience as writers, whether casual or extensive. For bands at least half of members must be enrolled.
Terms: Win | Units: 1-2 | UG Reqs: WAY-CE | Repeatable 2 times (up to 4 units total)

MUSIC 127A: Instrumentation and Orchestration

Individual instruments, instrumental groups within the orchestra, and combinations of groups. Arrangements from piano to orchestral music. Score analysis with respect to orchestration. Practical exercises using chamber ensembles and school orchestra. Prerequisite: Music23, or permission of the instructor.
Terms: Aut, Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-CE

MUSIC 127B: Advanced Orchestration

Through analysis and writing exercises, students develop proficiency in advanced orchestration practices. The course covers techniques currently used in film scoring as well as form basis for new experimental orchestral composition.
Last offered: Spring 2023 | Units: 3 | UG Reqs: WAY-CE

MUSIC 128: Stanford Laptop Orchestra: Composition, Coding, and Performance (CS 170)

Classroom instantiation of the Stanford Laptop Orchestra (SLOrk) which includes public performances. An ensemble of more than 20 humans, laptops, controllers, and special speaker arrays designed to provide each computer-mediated instrument with its sonic identity and presence. Topics and activities include issues of composing for laptop orchestras, instrument design, sound synthesis, programming, and live performance. May be repeated four times for credit. Space is limited; see https://ccrma.stanford.edu/courses/128 for information about the application and enrollment process. May be repeat for credit
Terms: Spr | Units: 1-5 | UG Reqs: WAY-CE | Repeatable 4 times (up to 20 units total)

MUSIC 130B: Elementary Instrumental Conducting

What do conductors do and how do they do it? In this course, students are introduced to the theory, technique, and practice of instrumental conducting. Students will develop the art of physical gesture by conducting an ensemble made up of class members. Topics include baton technique, rehearsal procedure, and structural analysis. Studies in clef reading and transposition will foster the skills needed to read orchestral scores. Students will study and conduct instrumental music for strings, winds, and full orchestra primarily from the Baroque, Classical, and Romantic periods. Following preliminary work with the class ensemble, each student will conduct Stanford Philharmonia and the Stanford Symphony Orchestra in rehearsal as their final project. Prerequisite: Instructor's permission.
Terms: Aut | Units: 2-3 | UG Reqs: WAY-CE
Instructors: ; Phillips, P. (PI)

MUSIC 130C: Elementary Choral Conducting

Techniques specific to the conducting of choral ensembles: warm-ups, breathing, balance, blend, choral tone, isolation principles, recitative conducting, preparation, and conducting of choral/orchestral works.
Last offered: Winter 2022 | Units: 2 | UG Reqs: WAY-CE

MUSIC 131A: Musical Indeterminacy & Advanced Notation

Strategies for composing works that change from performance to performance and offer performers significant and sometimes spontaneous input into their musical form and content. Examination of canonic works and discussion of the defining boundaries of musical ontology. Consideration of various notational techniques, prescriptive versus descriptive purposes, pictographic notation, the aesthetics of the score, under-specification versus musical graininess, and the sonification of visual data. Discussion of game pieces, aleatoric chance procedures, the role of improvisation, conceptual vagueness, interpretative compliance, and the ethics of fidelity and exactitude. Brief etude assignments, readings, and creation of a short ensemble piece performed in concert.
Last offered: Autumn 2022 | Units: 2-3 | UG Reqs: WAY-CE

MUSIC 143F: Nineteenth-Century Pianism: History, Works, & Performance Practices (MUSIC 243F)

This seminar narrows the divide between performance and musicology. With nineteenth-century pianism as an extended case study, this course will explore representative and less common composers, works, and performers. Subtopics will include historical performance practices, notation, critical editions, period pianos, hermeneutics, recording analysis, and the cultural politics of performing and listening. Students will hone writing, research, and performance skills through a variety of assignments, seminar discussions, and in-class exercises, culminating with a lecture-recital. Possible field trips will include Stanford's Archive of Recorded Sound and selected live performances. Prerequisites: Intermediate to advanced performance ability; intermediate or higher music theory. WIM at 4 units only.
Terms: Aut | Units: 3-4 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Graham, P. (PI)

MUSIC 151B: Red Vest Band

A small ensemble of the Leland Stanford Junior University Marching Band open to members of the LSJUMB by audition and consent of instructor. Members perform at multiple Stanford Athletics events, multiple community events, and travel to some away and post-season games. Weekly rehearsals focus on introduction of new student arrangements and the LSJUMB's repertoire of rock, funk, and traditional styles. May be repeated for credit a total of 12 times.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 12 times (up to 12 units total)
Instructors: ; Gavin, R. (PI); Vega, R. (PI)

MUSIC 154A: Sound Art I (ARTSTUDI 131)

Acoustic, digital and analog approaches to sound art. Familiarization with techniques of listening, recording, digital processing and production. Required listening and readings in the history and contemporary practice of sound art. (lower level)
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-CE
Instructors: ; DeMarinis, P. (PI)

MUSIC 155: Intermedia Workshop (ARTSTUDI 239, MUSIC 255)

Students develop and produce intermedia works. Musical and visual approaches to the conceptualisation and shaping of time-based art. Exploration of sound and image relationship. Study of a wide spectrum of audiovisual practices including experimental animation, video art, dance, performance, non-narrative forms, interactive art and installation art. Focus on works that use music/sound and image as equal partners. Limited enrollment. Prerequisites: consent of instructors, and one of FILMPROD 114, ARTSTUDI 131, 138, 167, 177, 179, or MUSIC 123, or equivalent. May be repeated for credit
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-CE | Repeatable 2 times (up to 8 units total)

MUSIC 155A: Piano Literature (MUSIC 255A)

An exploration of the repertoire for piano and keyboards, providing experience with and context for this literature while engaging practical, technical and analytical features of the works. Each quarter will cover focused areas defined by time, place, composer, stylistic tradition, formal type, etc. Students will perform works in class, as well as listen to and compare performances through videos and recordings. Assignments include reading, listening, and a final project. Prerequisite: Private lesson proficiency level in piano, or consent of instructor.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 14 times (up to 14 units total)
Instructors: ; Arul, K. (PI)

MUSIC 156: "sic": Improvisation Collective

Small ensemble devoted to learning trans-idiomatic improvisation techniques and composing indeterminate pieces in a workshop setting. One major concert. Prerequisite: access to an instrument. Improvisational experience and conventional instrumental virtuosity not required. May be repeated for credit for a total of 3 times.
Terms: Win | Units: 1 | UG Reqs: WAY-CE | Repeatable 4 times (up to 4 units total)
Instructors: ; Applebaum, M. (PI)

MUSIC 157: Cardinal Calypso--Steelpan Ensemble

This course introduces students to steelpan as an instrument and as a culture. Over the course of the year, students will gain fundamental knowledge of the pitched percussion instrument, gain insight into the culture of Trinidad and Tobago which gave rise to the steelpan, and have the opportunity to expand and share that knowledge through rehearsals, lecture topics/discussion, performances, and events with guest artists. While focusing on soca and calypso music genres, we will also explore a diverse range of other musical styles. Please note that this course is exclusively open to ensemble members.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 12 times (up to 12 units total)
Instructors: ; Abrefah, A. (PI)

MUSIC 159M: Gay Guerilla: a hands-on experience of the life, music and legacy of Julius Eastman

This hands-on course explores the life and music of Julius Eastman, in which he endeavored to be "Black to the fullest, a musician to the fullest, and a homosexual to the fullest". His music deals with issues of race, gender, sexual orientation, and class, and was stylistically groundbreaking in many ways, preceding some of the earliest examples of minimalism and particularly marking the downtown New York scene of the 70s and 80s. Class meetings will include guest lectures, labs, and the opportunity to participate in and/or contribute to a live presentation of Eastman's music by Stanford Live at Bing Concert Hall. This course must be taken for a minimum of three units and a letter grade to be eligible for WAY-AII credit. For WAY-CE, the course may be taken for fewer than three units (note that if you take a WAY-CE class for only one unit you will need to take another unit of WAY-CE from the same department, as you need at least two units of WAY-CE). Please note that this course also counts towards African and African-American Studies minor/major.
Terms: Win | Units: 1-3 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Kretz, H. (PI)

MUSIC 160: Stanford Symphony Orchestra

Large symphony orchestra (ca. 100 members) that rehearses two evenings per week (M/Th) and performs repertoire primarily from the Classical Period to the present. Usually prepares 1-2 programs per quarter, and presents 2-3 performances each quarter in Bing Concert Hall. Enrollment based on audition; for audition information, please refer to the Stanford Orchestra website at https://web.stanford.edu/group/sso/cgi-bin/orchestras/how-to-join/auditions/. May be taken for credit up to 15 times. Zero-unit enrollment option (MUSIC 160Z) available with instructor permission. See website (orchestra.stanford.edu) for further information. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Phillips, P. (PI)

MUSIC 160A: Stanford Philharmonia

Chamber orchestra (ca. 45 members) that rehearses one evening per week (Tu) and performs repertoire primarily from the Baroque Period to the present. Usually prepares 1-2 programs per quarter, and presents 1-2 performances each quarter in Bing Concert Hall. Enrollment based on audition; for audition information, please refer to the Stanford Orchestra website at https://web.stanford.edu/group/sso/cgi-bin/orchestras/how-to-join/auditions/. May be taken for credit up to 15 times. Zero-unit enrollment option (MUSIC 160AZ) available with instructor permission. See website (orchestra.stanford.edu) for further information. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Phillips, P. (PI)

MUSIC 160B: Stanford New Ensemble

Performing compositions of the 20th century, recent works of this century, and new works by Stanford faculty and student composers. Musicians collaborate with composers and artists visiting and performing at Stanford. One concert per quarter. Admission and enrollment based on audition. For audition and contact information, please refer to the SSO/SPO/SNE website at (http://www.stanford.edu/group/sso/cgi-bin/wordpress/member-login/). All participants must register. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Kretz, H. (PI)

MUSIC 160C: Stanford Baroque Soloists

Elite string group focusing on chamber music of the Baroque era, c. 1600-1750. Concerti, overtures, suites, solo & trio sonatas for your instrument, quartet music from the pre-history of the string quartet. Each member expected to solo as well as play backup. Performances each quarter, played standing, student-led without conductor. Coaching will emphasize leadership and ensemble techniques, intonation and blend, particulars of eighteenth century notation and performance practice. Modern instruments, modern pitch, baroque bows as available. Limited to six violins, three violas, three cellos, bass, admission by audition. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. Contact instructor for audition and enrollment information: apmartin@stanford.edu. May be repeated for credit for total completion of 15 and total 15 units. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Martin, A. (PI)

MUSIC 160S: Stanford Summer Symphony

See website for details: https://music.stanford.edu/academic-programs/summer-studies-stanford-music/summer-session-ensembles-chorus-and-symphony. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Sum | Units: 1 | UG Reqs: WAY-CE | Repeatable 6 times (up to 6 units total)
Instructors: ; Phillips, P. (PI)

MUSIC 161A: Stanford Wind Symphony

40- to 50-member ensemble performing transcriptions of symphonic music, brass band music, and repertoire composed specifically for symphonic band. One concert per quarter. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)

MUSIC 161B: Jazz Orchestra

Jazz Orchestra is an undergraduate large ensemble performance class. Admission is by audition and/or permission of instructor. The class meets three times per week and presents a minimum of one formal concert per quarter with a major jazz artist. The class endeavors to provide students with the opportunity to perform, at the highest level, jazz compositions and arrangements of a serious nature, and provide opportunities for challenging and creative improvisational situations. Emphasis is placed on the understanding of the structural, psychological, and emotional components of the materials studied and performed. Zero unit enrollment option available with instructor permission. See website: ( http://music.stanford.edu) for policy and procedure. May be repeated for total of 15 times. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Galisatus, M. (PI)

MUSIC 161D: Stanford Brass Ensemble

Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. Performance of works for full brass choir and for smaller ensembles of brass instruments. Once weekly rehearsals. May be repeated for credit. Prerequisite: audition and consent of instructor. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)

MUSIC 161E: Stanford Afro-Latin Jazz Orchestra

Ensemble dedicated to the performance, interpretation and study of Afro-Latin music and its fusion with North American jazz. Repertoire includes the music of Brazil, Cuba, Dominican Republic, Puerto Rico, Peru and Argentina, as well as the United States. Idioms studied include Latin Jazz, Danzon, Son Montuno, Samba, Bossa, Traditional and Modern Salsa, Timba, Lando, and Candombe. African roots of the music are also presented including songs and rhythms from the Lucumi and Arara traditions. Focus is placed on learning rhythms, associated syncopations and also clave phrasing. One weekly rehearsal and a concert are required per quarter. Other playing opportunities available at the discretion of the group. Regular openings for brass/wind players, drummers, percussionists, pianists, bassists, and vocalists. Guest openings on violin, guitar and vibraphone. Inclusion of other instruments at the discretion of the director. Members should have basic reading ability and some related ensemble experience (e.g, jazz band). Ability to read and play complex syncopations are mandatory. Percussionists with experience in bongo, congas, timbales and pandeiro desired. Vocalists with fluency or exposure to Spanish and/or Portuguese also preferred. May be repeat for credit. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University. While COVID restrictions are in effect, class will be a mixture of live sectionals, interactive sessions over Zoom and Jacktrip, and a possible live stream concert.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Low, M. (PI)

MUSIC 162: Symphonic Chorus

180- to 200-voice choral ensemble, performing major choral masterworks with orchestra. One concert per quarter. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Sano, S. (PI)

MUSIC 163: Memorial Church Choir

Official choir of Memorial Church, furnishing music for Sunday services and special occasions in the church calendar. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Morgan, R. (PI)

MUSIC 165: Chamber Chorale

Select 24-voice choral ensemble, specializing in virtuoso choral repertoire from all periods of Western art music. Annual touring commitment required. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Sano, S. (PI)

MUSIC 167: University Singers

Select, 50-voice choral ensemble, performing choral repertoire from all periods of Western art music. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Morgan, R. (PI)

MUSIC 167S: Summer Chorus

150-voice non-auditioned ensemble performing major choral masterworks and choral repertoire from all periods of Western art music. Concert: August 6, 2022 in Bing Concert Hall. Details at: https://music.stanford.edu/choral-ensembles-2021%E2%80%932022. Zero unit enrollment option available with instructor permission. See website (https://music.stanford.edu/ensembles-lessons/applied-music-policies-and-resources) for policy and procedure. May be repeated for credit for a total of 0 (zero) unit. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Sum | Units: 1 | UG Reqs: WAY-CE | Repeatable 6 times (up to 6 units total)
Instructors: ; Ornes, R. (PI)

MUSIC 168: Neuroscience and Psychology of Music: From Practice to Peak Performance

Explore the fascinating intersection of neuroscience, psychology, and music in this course dedicated to peak music performance. Open to musicians of all instruments, this course investigates the science behind effective practice and performance techniques. Learn how to optimize your learning process, address performance anxiety, and enhance your musical skills. Through a collaborative and hands-on approach, students will actively experiment with various strategies and methods, tailored to individual needs. The course fosters a deeper understanding of the principles that underlie musical mastery and nurtures the development of each musician's unique potential. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Way-SMA credit.
Terms: Aut, Win | Units: 1-3 | UG Reqs: WAY-CE, WAY-SMA | Repeatable 15 times (up to 15 units total)

MUSIC 169: Stanford Taiko

Select 15- to 18-member North American taiko ensemble, performing all-original repertoire for Japanese drums. Multiple performances in Winter and Spring quarters, also touring; instrument construction and maintenance. Admission by audition in Autumn Quarter only. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Sano, S. (PI); Uyechi, L. (PI)

MUSIC 170: Collaborative Piano

Performance class in a workshop setting, exploring the art of collaboration with other musicians. Practical techniques will be addressed in highly varied repertoire. Admission is by audition only. Private-lesson proficiency level in piano is a prerequisite.
Terms: Aut | Units: 1 | UG Reqs: WAY-CE
Instructors: ; Dahl, L. (PI)

MUSIC 171: Chamber Music

Admission based on audition. Placements according to availability. 3 hr/weekly time commitment minimum. (Two hours of in-person or remote ensemble rehearsal plus one-hour remote coaching from Music department faculty.) Classical string quartets and piano/string groups supervised by the SLSQ. All participants must enroll. Zero unit enrollment option available with instructor permission. See website for policy, procedure, and audition sign up: http://music.stanford.edu/. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 24 times (up to 24 units total)

MUSIC 172A: Piano

Private lessons and group master class weekly. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)

MUSIC 172B: Organ

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Morgan, R. (PI)

MUSIC 172C: Harpsichord

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Bar-David, E. (PI)

MUSIC 172D: Jazz Piano

Admission is by audition and/or invitation only; priority to majors and jazz-ensemble participants. All participants must enroll. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. Zero unit enrollment option available with instructor permission. May be repeated for credit a total of 14 times. Lessons meet for one hour per week at the mutual convenience of the instructor and student. Exact time to be determined during the first week of classes. Course to be taught online when COVID restrictions are in effect as a live private interactive session. Student should have access to a piano during the lesson. Students on campus who do not have such access,please contact instructor for further information.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Low, M. (PI); Low, M. (SI)

MUSIC 172E: Fortepiano

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. edit Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)

MUSIC 172F: Carillon

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Zerlang, T. (PI)

MUSIC 172G: Gu-Zheng

Private lessons weekly. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; You, H. (PI)

MUSIC 173: Voice

Weekly private voice lessons and group master classes. Enrollment is limited to students chosen by auditions held at the beginning of Autumn Quarter or by permission of the instructor, with the expectation that the student will enroll for the entire academic year. While prior vocal study is not mandatory for admission, most students accepted for private lessons have undergone previous vocal training. All students in the course must enroll for 1-3 units except for co-terminal or graduate students, for whom the zero-unit option is also available. Students in the course must attend a weekly studio voice class and perform juries, as designated by the Stanford voice faculty. Students should enroll in Music 173 during their first year of vocal study at Stanford. See http://music.stanford.edu/Academics/LessonSignups.html for information about the audition and course fee and https://music.stanford.edu/ensembles-lessons/lessons for policy and procedure. This class is closed by design and requires a permission number from the instructor.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)

MUSIC 174A: Violin

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)

MUSIC 174B: Viola

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)

MUSIC 174C: Violoncello

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)

MUSIC 174D: Contrabass

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Moyer, B. (PI)

MUSIC 174E: Viola Da Gamba

Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)

MUSIC 174F: Classical Guitar

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)

MUSIC 174G: Harp

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Levitan, D. (PI)

MUSIC 174H: Baroque Violin

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Martin, A. (PI)

MUSIC 174J: Jazz & Contemporary Guitar

An application of the performance techniques developed by the innovative, genius, and radical guitarists from 1930 to 2020. Improvising, comping, reading, repertoire, and technique will be studied in depth. Rhythm styles, the application of modern theory, transcribing solos, and chord melody arranging are developed through the course of study. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Vandivier, R. (PI)

MUSIC 175A: Flute

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)

MUSIC 175B: Oboe

May be repeated for credit a total of 15 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; May, C. (PI)

MUSIC 175C: Clarinet

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Brandenburg, M. (PI)

MUSIC 175D: Bassoon

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; MacNeill, D. (PI)

MUSIC 175E: Recorder/Early Winds

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Myers, H. (PI)

MUSIC 175F: Saxophone

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Henderson, D. (PI)

MUSIC 175G: Baroque Flute

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Ellison, G. (PI)

MUSIC 175H: Jazz Saxophone

May be repeated for credit a total of 15 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; McCarthy, C. (PI)

MUSIC 176A: French Horn

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)

MUSIC 176B: Trumpet

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Luftman, A. (PI)

MUSIC 176C: Trombone

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Platoff, N. (PI)

MUSIC 176D: Tuba

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Clements, T. (PI)

MUSIC 176E: Jazz Trumpet

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Worley, J. (PI)

MUSIC 177: Percussion

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Thenell, M. (PI)

MUSIC 177A: Drum Set Lessons

These lessons will be geared toward the individual student's desires and needs. All levels are welcome, but students should contact instructor to set up initial meeting, prior to enrolling in the course. Students will explore drumset technique, coordination, reading and a study various styles including, Jazz, Rock, R&B, Blues, Latin and Brazilian music. Students will use different texts as needed. These texts may include: Syncopation by Ted Reed, Modern Reading Text in 4/4 by Louis Bellson, A Funky Primer by Charles Dowd, Advanced Techniques for the Modern Drummer by Jim Chapin, and others. Students will also use material created by David for his classes "Around the World on a Drumset" and "Chart Reading Demystified." These lessons are designed to be both fun and challenging. Students will play along with recordings and are encouraged to bring in recordings of music that they enjoy. May be repeated for credit a total of 15 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. This class is closed by design and requires a permission number from the instructor.Make up lessons for cancellations with less than 24 hours notice are up to the instructor?s discretion.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Rokeach, D. (PI)

MUSIC 181: Jazz Combos

Admission based on audition. These small jazz ensembles meet weekly and typically include coaching, one masterclass and one performance per quarter. May be repeated for credit. All participants must enroll. Zero unit enrollment option available with instructor permission. See website for policy, procedure, and audition information: https://music.stanford.edu/stanford-jazz-combos
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)

MUSIC 183A: German Art Song Interpretation

By audition only. For advanced singers and pianists as partners. Performance class in a workshop setting. Composers include Beethoven, Schubert, Wolf and Strauss. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists) or 182 (singers).
Terms: Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 2 times (up to 2 units total)
Instructors: ; Dahl, L. (PI)

MUSIC 183B: French Art Song Interpretation

By audition only. For advanced singers and pianists as partners. Performance class in a workshop setting. Composers include Fauré, Debussy, Ravel and Poulenc. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists) or 182 (singers).
Last offered: Spring 2023 | Units: 1 | UG Reqs: WAY-CE | Repeatable 2 times (up to 2 units total)

MUSIC 183C: Interpretation of Musical Theater Repertoire (TAPS 183C)

By audition only: Contact instructor prior to enrolling (mlcats@stanford.edu). Ability to read music expected, but students with experience singing in musical theater can be accepted. For singers and pianists as partners. Performance class in a workshop setting along with lecture/discussion of important eras of musical theater history. Composers include Kern, Porter, Gershwin, Rodgers, Sondheim, Lloyd Weber, Jason Robert Brown and others. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists).
Terms: Win | Units: 1-2 | UG Reqs: WAY-CE | Repeatable 2 times (up to 4 units total)
Instructors: ; Catsalis, M. (PI)

MUSIC 183E: Singing for Musicals (TAPS 183E)

Do you love singing in musicals? Do you know how to sing in musicals? This course provides training in vocal technique and acting for students interested in performing musical theater. Students will learn about the physical process of singing, including posture, breath support, and vocal exercises. They will incorporate vocal technique with the study of phrasing in different styles of Broadway repertoire, and apply both to the art of acting the song. Through understanding vocal technique, students will become more confident and joyful performers. Admission to the course is by audition or permission of the instructor. Due to the COVID-19 situation, Singing for Musicals classes will be taught online during Spring 2021. As this can pose a problem with students in various time zones and internet arrangements, the instructor will contact all waitlisted students with more detailed information regarding video auditions and a questionnaire prior to the first class.
Last offered: Spring 2021 | Units: 2 | UG Reqs: WAY-CE | Repeatable 4 times (up to 8 units total)

MUSIC 183G: Sing & Be Well: Exploring and Integrating Wellness Through Singing (LIFE 183G)

Finding an expressive outlet is essential in a world where stress and anxiety are common. Singing has been proven to be one such outlet. This immersive course explores the health benefits of singing. In addition to research and expert guest lectures, the course emphasizes vocal technique, mindfulness, and group singing through vocal improvisation. Singers of all levels will discover the connection between singing, joy, and holistic health.
Terms: Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 2 times (up to 2 units total)
Instructors: ; Jimenez, N. (PI)

MUSIC 184A: Editing and Performing Early Music

This course is a practical workshop in early music vocal repertoire. The main focus of this course is to use original source material to explore editorial practice. Having prepared the score, students learn to perform the piece from an historically informed performance practice point of view. In addition to broadening the student's knowledge of vocal repertoire, the following skills are developed: text preparation, foreign language translation and diction; rehearsal for performance and/or recording. Enrollment by audition only. Prerequisite: vocal or instrumental instruction, as the class is open to singers or collaborative artists. May be repeated for credit a total of 4 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 4 times (up to 12 units total)
Instructors: ; Catsalis, M. (PI)

MUSIC 184B: Topics on the Musical Stage (TAPS 184B)

This course is a practical workshop in vocal repertoire for the stage. Each quarter's offering emphasizes a specific genre or period, therefore the course can be repeated with permission of the instructor. In addition to broadening the student's knowledge of vocal repertoire, the following skills are developed: text preparation, foreign language translation and diction; rehearsal etiquette for performance and/or recording. Enrollment by audition only. Prerequisite: vocal or instrumental instruction, as the class is open to singers or collaborative artists. May be repeated for credit a total of 4 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 4 times (up to 12 units total)

MUSIC 184C: Dramatic Vocal Arts: Songs and Scenes Onstage (TAPS 184C)

Studies in stagecraft, acting and performance for singers, culminating in a public performance. Repertoire to be drawn from the art song, opera, American Songbook and musical theater genres. Enrollment by audition only. May be repeated for credit a total of 4 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Spr | Units: 1-2 | UG Reqs: WAY-CE | Repeatable 4 times (up to 8 units total)
Instructors: ; Catsalis, M. (PI)

MUSIC 184E: Musical Theater Dance Styles (DANCE 102)

Students will be able to demonstrate period specificity, character of style through learning different musical theater dances from the early 20th C.to the present. ALL students will participate in an end of quarter showing of the choreography developed and composed in class. Class will be supplemented with the occasional guest, DJ accompaniment and video viewing.
Last offered: Winter 2020 | Units: 1 | UG Reqs: WAY-CE, way_ce | Repeatable for credit

MUSIC 184F: Introduction to Theater Sound Design (TAPS 138)

This course explores the history and aesthetics,of theatre sound design, and provides the basic technical knowledge to create your own work. Learn how to analyze a script for sound design elements, gain practical knowledge of microphones and loudspeakers, sound editing and cueing software, and put your knowledge to work creating your own design.
Last offered: Spring 2020 | Units: 4 | UG Reqs: WAY-CE

MUSIC 192B: Advanced Sound Recording Technology

This course aims to heighten the listening skills of students. In a series of group sessions and discussions students compare and contrast a variety of dynamic based processes and other audio effects/plug-ins which might be used in their mixes. Students also explore recording concepts and technologies that will augment their studio practices such as making customized impulse response recordings, advanced equalization practices, and exploring additional advanced studio/non-studio techniques and software. Prerequisite: 192A or consent of instructor.
Last offered: Winter 2020 | Units: 3 | UG Reqs: GER:DB-EngrAppSci, WAY-CE

MUSIC 222: Sound in Space

Historical background, techniques and theory on the use of space in music composition and diffusion. Listening and analysis of relevant pieces. Experimental work in spatialization techniques leading to short studies to be diffused in concert at the end of the quarter.
Last offered: Winter 2023 | Units: 1-4 | UG Reqs: WAY-CE

MUSIC 223A: Composing Electronic Sound Poetry

Poets, lyricists, rappers, composers, intermedia experimentalists, and others curious about combining words and sounds are invited to explore the exciting world of sound poetry. Students will make electronic works, musique concrète soundscapes, songs, or audio essays featuring their voice or that of others, with vocal sounds produced by singing, speaking, or speech synthesis, and employing digitally processed or collaged words. Our words can be original, collaboratively composed, quoted, or AI-generated. Students will complete several short creative etudes that build to a public concert featuring original multi-channel works, pieces with video, or live performances. No prerequisites.
Terms: Aut | Units: 2-3 | UG Reqs: WAY-CE | Repeatable 2 times (up to 6 units total)
Instructors: ; Applebaum, M. (PI)

OCEANS 141H: The Science of Extreme Life of the Sea (BIO 140)

Covers the way marine animals and plants live in extreme environments by examining morphological, ecological, and genetic adaptations to low temperature, high heat, deep water, etc. We also cover extreme lifestyles such as fast swimming, small and large body size, and novel reproductive systems. Lecture material is punctuated with a series of tutorials on narrative writing skills in science, especially creative non-fiction, memoirs, braided essays and short fiction. The goal is to integrate quantitative thinking about the life sciences with creative writing that brings facts to life. Prerequisites: core courses in biology, creative writing, environmental sciences or engineering. Course taught in-person only at Hopkins Marine Station. For information about how to spend spring quarter in residence in Monterey: https://hopkinsmarinestation.stanford.edu/undergraduate-studies/spring-courses-23-24. Individual course registration also permitted; no application required. Depending on enrollment numbers, a weekly shuttle to Hopkins or mileage reimbursements for qualifying carpools will be provided; terms and conditions apply.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE

OCEANS 157H: Creative Writing & Science: The Artful Interpreter (ENGLISH 91AI, OCEANS 257H)

What role does creativity play in the life of a scientist? How has science inspired great literature? How do you write accessibly and expressively about things like whales, DNA or cancer? This course provides a unique opportunity for students to directly engage with marine animals, coastal habitats and environmental concerns of Monterey Bay. As historian Jill Lepore writes of Rachel Carson: "She could not have written Silent Spring if she hadn't, for decades, scrambled down rocks, rolled up her pant legs, and waded into tide pools, thinking about how one thing can change another..." Students will complete and workshop three original nonfiction essays that explore the intersection between personal narrative and scientific curiosity. You will develop a more patient and observant eye and improve your ability to articulate scientific concepts to a general readership. Students must submit a Google Form to request enrollment by December 1st: https://forms.gle/yoPriHjyE1GHrCJh7 If selected for enrollment, students must attend the first class meeting to retain their roster spot. **Course taught in-person only at Hopkins Marine Station.** Please note: Depending on enrollment across the courses offered on Fridays at Hopkins, a university shuttle will be made available or carpool mileage reimbursements will be provided. Carpool reimbursement is subject to specific terms and conditions; class lists will be distributed for this purpose. However, if a university shuttle is provided, carpool reimbursements will not be honored.
Terms: Win | Units: 5 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Michas-Martin, S. (PI)

OCEANS 158H: Science Meets Literature on the Monterey Peninsula (ENGLISH 158H, OCEANS 258H)

(Graduate students register for 258H) This course will consider the remarkable nexus of scientific research and literature that developed on the Monterey Peninsula in the first half of the 20th century and how the two areas of creativity influenced each other. The period of focus begins with the 1932 association of John and Carol Steinbeck, Ed Ricketts, and Joseph Campbell, all of whom were highly influenced by the Carmel poet, Robinson Jeffers ¿ and ends with the novels Cannery Row (1945) and Sweet Thursday (1954). An indisputable high-tide mark, Sea of Cortez: A Leisurely of Travel and Research (1941) will be considered in detail. Weekend field trips will include intertidal exploration, a tour of the Jeffers Tor House in Carmel, and whale watching on Monterey Bay. Formally BIOHOPK 158H & 258H.
| Units: 5 | UG Reqs: WAY-A-II, WAY-CE

ORALCOMM 123: Crafting Concept Albums: Big Tales, Small Grooves, and the Art of Musical Narrative

Cultures all around the world tell the stories of their history, beliefs, and identities through song. The Greeks set their epic tales of love, life, and death to music, Renaissance composers followed suit, and popular music artists do the same today. In this hybrid workshop-seminar, students will explore musical narratives by analyzing seminal concept albums and then producing their own single-story album through written lyrics. Students will examine how artists use craft elements such as setting, characters, and plot, cover art, and musical form and instrumentation, then apply that learning in their own productions. Creating music, beats, soundscapes, and artwork will be encouraged, but the final project need only be a cycle of recorded, spoken song lyrics. We¿ll focus in particular on narratives of race, class, gender, and sexuality and their social implications as we examine works from artists across musical genres¿from classic and punk rock artists such as Pink Floyd, David Bowie, and Green Day; to hip-hop, pop, and EDM performers such as Beyoncé, Lupe Fiasco, Janelle Monáe, Daft Punk, and Kendrick Lamar. Students will work in groups to choose genre, develop a sense of place and time, select narrative structures, and craft lyrics. No prior experience in music or creative writing is required.
Last offered: Spring 2020 | Units: 4 | UG Reqs: WAY-A-II, WAY-CE

ORALCOMM 127: Introduction to Podcast Storytelling

This introductory course is designed to teach you the fundamentals of creating narrative podcast episodes. You will learn by doing¿working with a small group to produce a 5-10 minute audio story. Your work for this class will include story pitching, interviewing, scriptwriting, tracking narration, audio editing, and sound design. The assignments will include both works in progress and published episodes to help you understand the architecture of great stories. Though we focus on audio, the craft skills you¿ll learn will help you create stories for any medium, including print and live performance. May be repeated for credit.
Terms: Aut | Units: 2 | UG Reqs: WAY-CE | Repeatable 3 times (up to 6 units total)

ORALCOMM 128: Stories to Save Our Planet: Transforming Climate Solutions Research Into World-Changing Stories

The United Nations have called climate change the challenge of our generation. A growing body of environmental storytelling is bringing clarity to complicated climate conversations by casting a vision for a better future, and providing compelling, actionable climate change solutions. In this course, you?ll have the opportunity to contribute to that conversation by creating a podcast episode about a specific climate change solution. You?ll also create a print version of that story in a research-driven narrative essay. Along the way you?ll develop an understanding for story architecture, podcast production, and have opportunities to present live, oral renditions of your work in class. Upon completion of the course, your episodes will be published on the Stanford Storytelling Project?s Soundings podcast, with the opportunity to also be aired on public radio through KZSU. No prior experience with story craft or media required. Note: Students must be present for special Friday workshops (April 12, 19, & 26 12:00-2:00 pm) to enroll in this course. For permission code to enroll, please fill out this form: https://forms.gle/NbeyJYDgo3knyWBz5
Terms: Spr | Units: 4 | UG Reqs: WAY-CE, Writing 2
Instructors: ; Davis, L. (PI)

ORALCOMM 129: Sound Stories

This seminar is designed for students interested in creating audio stories for radio, podcast, and other forms of sonic narrative. Students will examine the craft elements of the audio form, popularized by programs such as This American Life, Radiolab, and Serial including skills for interviewing, scoring, and audio editing, and will then produce their own documentary, memoir, or investigative story. This is a hybrid class, equal parts classic seminar and creative workshop. Students will work in small groups, learning how to develop material, choose an effective structure, blend dramatization and reflection, ground insights in concrete scenes, create a strong narrative arc, and manage elements such as characterization, description, and dialogue in order to create engaging stories with social impact. Recommended for students interested not only in podcasting but also creative nonfiction, documentary, film, and sound art. No prior experience with story craft or media required. Cardinal Course certified by the Haas Center for Public Service. If interested please fill out this form: https://forms.gle/jEiidRfbLG97wU7Z8
Terms: Win | Units: 4 | UG Reqs: WAY-CE, Writing 2

ORALCOMM 130: ORALCOMM: Your American Life

This small seminar is designed for students interested in creating audio stories for radio or podcast. You will examine the craft elements of the medium, popularized by programs like This American Life, Radiolab and Serial, and then produce your own documentary, memoir, or investigative story. We will explore the basic principles of strong storytelling, and you will learn how to develop your material, choose an effective structure, blend dramatization and reflection, ground insights in concrete scenes, create a strong narrative arc, and manage elements such as characterization, description, and dialogue. We will also examine craft elements unique to the audio form, and you will learn skills for interviewing, scoring, and audio editing. Students will have the opportunity to work with special guests from some of the best narrative podcasts in America. No prior experience with story craft or media required. Cardinal Course/CEL/HAAS
Last offered: Winter 2020 | Units: 4 | UG Reqs: WAY-CE

OSPFLOR 25: Photographic Interventions in Contemporary Fine Art Practice

This course offers a fluid approach to image making, understanding photography as an art form that encompasses multiple approaches including performative, sculptural, pictorial and cinematographic practices. While introducing students to a series of printing techniques and photographic processes along with studio lighting and digital postproduction methods, this course will encourage visual experimentation, theoretical contextualisation, and active research processes. Students will be guided through the processes of developing a critical framework for their practice through tutorials and through theory seminars mapping some of the major developments and theoretical concerns within contemporary practice. They will also be shown researching methods to reach relevant audiences: from physical installations, exhibitions and publications, to new media and the web.
Last offered: Spring 2021 | Units: 4 | UG Reqs: WAY-CE

OSPFLOR 41: The Florentine Sketchbook: A Visual Arts Practicum

The ever-changing and multifaceted scene of contemporary art through visual and sensorial stimulation. How art is thought of and produced in Italy today. Hands-on experience. Sketching and exercises on-site at museums and exhibits, plus workshops on techniques. Limited enrollment.
Last offered: Autumn 2019 | Units: 4 | UG Reqs: WAY-CE

OSPFLOR 69: Abstract Art: Creativity, Self-Expression and Depicting the Unimaginable

Overview of the birth and evolution of abstract art with visual background necessary to produce works of art free of a realistic representation. Movements and trends in abstract art; experimentation with different media and techniques. Enrollment limited.
Last offered: Winter 2021 | Units: 4 | UG Reqs: WAY-CE

OSPFLOR 71: A Studio with a View: Drawing, Painting and Informing your Aesthetic in Florence

Recent trends in art, current Italian artistic production, differences and the dialogue among visual arts. Events, schools, and movements of the 20th century. Theoretical background and practical training in various media. Work at the Stanford Center and on site at museums, exhibits, and out in the city armed with a sketchbook and camera. Emphasis is on drawing as the key to the visual arts. Workshops to master the techniques introduced. Limited enrollment.
Last offered: Spring 2021 | Units: 4 | UG Reqs: WAY-CE

OSPFLOR 96: Leonardo!

In this 500th anniversary year of the death of Leonardo this class will be an immersive and interactive experience with this most remarkable and complex artist and thinker. Focus on Leonardo's insights into human perception, tapping the very sounds and sights of the city that drove his fascination and inspired his work. Leonardo's conviction that the soul was the point of convergence of all the senses, prompted him to ponder how sensory information is received and processed. His writings foreshadow gestalt psychology and psychoacoustics centuries before these were studied by scientists. Leonardo's fascination with perception and emotion are manifest in his art and in his inventions. Together we will explore the city that inspired da Vinci's work, and delve into the deep implications of some of his insights and inventions as they effect contemporary art, science and life.
Last offered: Winter 2021 | Units: 3 | UG Reqs: WAY-A-II, WAY-CE

OSPGEN 58: Stoking an ancient flame: Ceramics intensive in Tamba

The Tamba region near Kyoto, Japan, has been a center of pottery production for over eight centuries. In many ways, medieval stoneware pottery of Tamba and Japan¿s other ¿six ancient kilns¿ can be seen as forebears of what we now know as the wabi-sabi aesthetic of Japanese tea culture. Today, surviving heirloom pieces such as jars (tsubo) and flower vessels (hanaire) serve as inspirational archetypes for surging international interest in the revival of styles and methods of traditional Japanese wood-fired ceramics (yakishime). In this Bing Overseas Seminar, Stanford students will travel to Tamba to undertake an intensive introduction to forming and firing clay. Lectures, discussions and studio demos will build a broad view of traditional aesthetic elements of yakishime, but at the same time, students will be encouraged to explore a modern individualistic approach to creative process to help them develop their own expressive forms. The seminar culminates in a traditional wood firing reaching kiln temperatures in excess of 2300F, which is a process that one must experience first-hand to viscerally comprehend. A final critique of student work will probe the complex interplay of natural materials, creative vision, manual skills and serendipity in this most ancient yet vital paragon of the arts of fire.
Last offered: Summer 2020 | Units: 2 | UG Reqs: WAY-CE

OSPHONGK 26: East Asian Film Genres in a Globalizing World

Connections between different cinemas within East Asia and between East Asia and the rest of the world explored from a genre perspective. Hong Kong and Korean gangster movies, Chinese swordplay and Japanese samurai films, and horror films from Japan and Thailand as examples of the transnational circulation of genres, involving processes of both localization and globalization. Focus on three interrelated genres: the martial arts film, the Eastern Western and the film noir/crime film. Explore Hollywood-centered genre theory, trace complex webs of creative influences, and appreciate the sameness and difference that characterizes both genre films and our globalizing world. Make a short "genre film" for screening at the end of the term
Last offered: Autumn 2020 | Units: 4 | UG Reqs: WAY-A-II, WAY-CE

OSPHONGK 41: Introduction to Creative and New Media

Introduction to the creative aspects of the mass media, media art, new media and popular culture. Enhance students' creative, aesthetic as well as intellectual ability to evaluate different media art forms and expression. Topics include art theory, aesthetics, theories on creativity, technical and commercial aspects of various forms of production and popular culture.
Last offered: Autumn 2021 | Units: 4 | UG Reqs: WAY-CE

OSPKYOTO 39: Capturing Concepts: A Photographic Exploration of the Origins of Kanji

Under guidance of official photographer for KYOTOGRAPHIE International Photography Festival, photograph scenes from everyday life in Kyoto to portray contemporary versions of the ancient forms and original meanings of ten different kanji. Develop observational, interpretive and creative abilities as well as improve technical skills (including picture composition and image editing). Enrollment limited.
Terms: Aut | Units: 2 | UG Reqs: WAY-CE
Instructors: ; Ogino, N. (PI); Hugh, M. (GP)

OSPMADRD 15: Flamenco Dance

Practical instruction. The rhythms and styles of flamenco and the expression of feelings proper to this art form which synthesizes song, music, and dance. "Zapateado" (footwork), "braceo" (arm positions and movement technique), and choreographies, including Rumba flamenca and Sevillanas. May be repeated for credit. Enrollment is limited.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE, way_ce | Repeatable for credit

OSPMADRD 46: Drawing with Four Spanish Masters: Goya, Velazquez, Picasso and Dali

Approaches, techniques, and processes in drawing. Visits to Madrid museums to study paintings and drawings by Goya, Vel¿zquez, Picasso, and Dal¿ and to explore the experience of drawing. Subject matter: the figure, still life, interiors, landscape, and non-representational drawing. No previous experience required. Enrollment limited.
Terms: Aut, Win | Units: 3 | UG Reqs: WAY-CE

OSPMADRD 84: Madrid Through My Eyes: A Theoreticl/Practical Documentary Film Workshop

Theoretical and practical view of Spanish language documentary cinema; potential of this type of film making as a form of personal expression. Tools for understanding and analyzing this type of cinema. Creative and analytical reflection on student 's Madrid experience; develop individual visual discourse to portray life in the city by filming a short documentary.
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II, WAY-CE

OSPOXFRD 16: Creative Writing and Human Rights

Human rights concepts through their emergence in literary form(s), using creative writing, including nonfiction, fiction and poetry, to explore empathy and the most effective ways of inducing it in readers.
Terms: Spr | Units: 4-5 | UG Reqs: WAY-CE, WAY-EDP

OSPOXFRD 75: Creative Non-Fiction: Self expression as a means and an end.

The value of writing as a form of self expression and self analysis has been highlighted in recent months. In this course students will embark on an exploration of the practical uses of writing (journalism, therapy, communicating policies) while also cultivating their own writing skills. In this small seminar students will be able to grow their own writing skills with a variety of assignments tailored to their interests, meet other writers and learn how recent global events have changed the employment landscape for a burgeoning wordsmith.
Terms: Sum | Units: 4-5 | UG Reqs: WAY-A-II, WAY-CE

OSPPARIS 2: Paris through the lens of your Smartphone

The aim of this course is to allow students to conceive, produce, direct and edit a short film that explores their experience in Paris using the basic smartphone technology. They will be introduced to the fundamentals of visual storytelling and basic technics of filmmaking and be encouraged to apply those techniques through a variety of practical exercises and training seminars. At the end of the trimester, the students will have acquired basic notions of visual storytelling and directed a short movie allowing them to express their own idiosyncratic vision of the world and their personal experience in a foreign city. Primary language: French
Terms: Aut, Win | Units: 2 | UG Reqs: WAY-CE

OSPPARIS 12: Paris Photography Workshop

Exploration of Paris through camera and lab techniques. Both theoretical and practical aspects of creative photography. Extensive field work. Students must bring camera or phone with camera. Enrollment limited. Taught in English.
Last offered: Winter 2023 | Units: 3 | UG Reqs: WAY-CE

OSPPARIS 36: French Writing Workshop

Offered upon request for students who have completed an Advanced French course. Focus on French writing style, enabling students to understand and master the subtleties of French writing.
Terms: Aut, Win, Spr | Units: 2 | UG Reqs: WAY-CE

OSPPARIS 95: Women in Contemporary French Cinema

Women as objects and subjects of the voyeuristic gaze inherent to cinema. The evolution of female characters, roles, actresses, directors in the French film industry from the sexual liberation to #metoo. Women as archetypes, icones, images, or as agents and subjects. Emphasis on filmic analysis: framing, point of view, narrative, camera work as ways to convey meaning. Themes include: sexualization and desire; diversity and intersectionality in films; new theories of the female gaze; gender, ethnicity and class. Filmmakers include Roger Vadim, Agnès Varda, Luis Buñuel, Claude Chabrol, Colline Serreau, Elena Rossi, Tonie Marshall, Houda Benyamina, Eléonore Pourriat, Céline Sciamma, Mati Diop. VISIT BY FILM DIRECTORS Elena Rossi and Sciamma (pending). Films in French with subtitles; discussion in English.
Last offered: Autumn 2022 | Units: 3-4 | UG Reqs: WAY-A-II, WAY-CE

PHIL 193E: Film & Philosophy CE (FRENCH 154E, ITALIAN 154E, PHIL 293E)

Issues of authenticity, morality, personal identity, and the value of truth explored through film; philosophical investigation of the filmic medium itself. Screenings to include Blade Runner (Scott), Do The Right Thing (Lee), The Seventh Seal (Bergman), Fight Club (Fincher), La Jetée (Marker), Memento (Nolan), and Eternal Sunshine of the Spotless Mind (Kaufman). Taught in English. Satisfies the WAY CE.
Last offered: Winter 2019 | Units: 3 | UG Reqs: WAY-CE

PSYC 120: Yoga Psychology for Resilience and Creativity (LIFE 120, TAPS 102L)

In this integrative class, learn about the practice, psychology, and philosophy of yoga as a conceptual model for well-being. Supported by findings in modern neuroscience and psychological research, yoga is an ancient, holistic modality that integrates body, mind, and community through ethical awareness, movement, breathing, and meditation. This integration lends itself to embodied, creative expression as wellas other healing modalities you will explore, such as theater and performance, dance, qigong, and laughter yoga. Yoga philosophy and postures are drawn from Dr. Christiane Brem's protocol developed as a therapeutic yoga class. The weekly performance exercises we will practice were developed by theater makers such as Augusto Boal and the UK-based performance duo Curious.
Last offered: Spring 2022 | Units: 2 | UG Reqs: WAY-CE

PWR 91CL: Self & Science (LIFE 91CL)

"Self & Science" mines the intersection of memoir and science writing. In this advanced experimental writing course, students will read a selection of essays by writers including Lewis Thomas, Oliver Sacks, Annie Dillard, and Mark Doty, which illustrate the shared intellectual foundation in observation of scientific and poetic inquiry. Building on these readings, students will be challenged to produce an experimental essay that transgresses genre boundaries in the service of considering how personal reflection can narrate researched discoveries. Over the course of the quarter, students are invited to bolster their overall communication acumen, enhance their ability to share valuable discoveries beyond the confines of their major discipline, and practice the difficult bliss of engaging a discerning public audience. Click here for course video and full description: https://undergrad.stanford.edu/programs/pwr/courses/advanced-courses/self-science
Last offered: Winter 2023 | Units: 3 | UG Reqs: WAY-CE

PWR 91CW: Intermediate Writing: Seeing is Believing: The Power of Persuasive Data Stories

In this course, students will study and practice principles of data visualization informed by fields like rhetorical theory, statistics, and cognitive science, using these principles to critically read, redesign, and create charts, maps, and other datastories more effectively. For full course description and video visit https://pwrcourses.stanford.edu/pwr91cw
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Wright, C. (PI)

PWR 91D: Intermediate Writing: Your American Life

In this course, you'll read and listen to some of the most moving and insightful pieces of the last decade, explore the important differences between print and oral storytelling, and then script and record your own full-length audio piece. Along the way, we will explore many craft elements that apply equally to print and audio pieces. You will learn, for example, how to organize your material, choose an effective structure, blend dramatization and reflection, ground insights in concrete scenes, create a strong narrative arc, and manage elements such as characterization, description, and dialogue. We will also, of course, explore craft elements unique to the audio form and you will learn how to use your voice and other sonic elements to craft the kind of piece you might hear on This American Life.nnThrough a special arrangement with the Stanford Storytelling Project, in the spring of 2012 this course will feature special sessions with prominent contributors to This American Life. n Prerequisite: first two levels of the writing requirement or equivalent transfer credit. For more information, see http://www.stanford.edu/dept/undergrad/cgi-bin/drupal_pwr/advanced_pwr.
Last offered: Autumn 2013 | Units: 3 | UG Reqs: WAY-CE

PWR 91EE: Intermediate Writing: Saving Lives with Picture Books

Want to help improve the health of mothers and young children in Bangladesh by creating picture books? This is your chance. (No artistic skills required.) You and your classmates will collaboratively create at least one original picture book designed to communicate information about child stimulation, nutrition, water sanitation, hygiene, the dangers of lead, and healthy ways of thinking. You¿ll study the genre of the picture book, explore the culture of Bangladesh, and consult with a team of Stanford-led researchers to create at least one picture book. You¿ll pitch story ideas, create storyboards and dummies, and revise and edit in light of feedback from the team in Bangladesh, as well as some of the mothers participating in the study.
Last offered: Autumn 2018 | Units: 4 | UG Reqs: WAY-CE

PWR 91EP: Intermediate Writing: Communicating Climate Change: Navigating the Stories from the Frontlines (EARTHSYS 154)

In the next two decades floods, droughts and famine caused by climate change will displace more than 250 million people around the world. In this course students will develop an increased understanding of how different stakeholders including scientists, aid organizations, locals, policy makers, activists, and media professionals communicate the climate change crisis. They will select a site experiencing the devastating effects and research the voices telling the stories of those sites and the audiences who are (or are not) listening. Students might want to investigate drought-ridden areas such as the Central Valley of California or Darfur, Sudan; Alpine glaciers melting in the Alps or in Alaska; the increasingly flooded Pacific islands; the hurricane ravaged Gulf Coast, among many others. Data from various stakeholders will be analyzed and synthesized for a magazine length article designed to bring attention to a region and/or issue that has previously been neglected. Students will write and submit their article for publication.For students who have completed the first two levels of the writing requirement and want further work in developing writing abilities, especially within discipline-specific contexts and nonfiction genres. Individual conferences with instructor and peer workshops. Prerequisite: first two levels of the writing requirement or equivalent transfer credit. For more information, see https://undergrad.stanford.edu/programs/pwr/explore/notation-science-writing.
Last offered: Spring 2016 | Units: 4 | UG Reqs: WAY-CE, WAY-SI

PWR 91EPA: Environmental Justice Storytelling: Writing for Impact (EARTHSYS 91EJ)

In this class students will explore groundbreaking environmental justice (EJ) stories created in multiple mediums including podcasts, documentaries, op-eds, and social media. Over the quarter you will research and develop your own EJ story and select a genre to communicate it as you work through key questions to take outside of the class and into your career: What is the role of the writer in addressing our greatest environmental and social challenges? What impact can stories have in shifting power and changing policies? How do we transform mainstream narratives? How do we engage the most impacted voices in the making of our stories? How do we figure out the audience to reach and how best to reach them? Finally, where are the places we find hope in this work? This course does not fulfill the WR1 or WR2 requirement.
Last offered: Autumn 2022 | Units: 3 | UG Reqs: WAY-CE, WAY-EDP

PWR 91F: Finding Your Story

Life challenges us to become aware of the stories that shape us--family stories, cultural mythologies, even popular movies, television shows, and songs--and then create and live our own story. We face this challenge throughout our lives but perhaps most acutely as we move into adulthood; this is the period when we most need to become conscious of stories and their power, to gather wisdom, practices, and resources for finding our own story. This class, designed with seniors in mind, will illuminate and explore these resources and give you the opportunity to reflect deeply, in discussion and writing, on what truly calls to you in this life. We will engage with some of the world's great stories--myths, parables, teaching tales, modern fiction, even aphorisms, koans, and riddles. In them we can find both elements that resonate with our own story and provocations that help us unearth and cultivate our native gifts--the genius in each of us. We will look at short excerpts from masterworks and myths from around the world, all voices in the largest conversation we have as humans, the one that asks: who am I? why am I here? what truly matters? how can I be happy? Together we will investigate how these stories, and stories like them, can be used to help us find our own story. Students in this course will have a special opportunity to meet personally with poet Billy Collins and singer Aimee Mann when they visit campus in April. Does not fulfill NSC requirement. For students who have completed the first level of the writing requirement and want further work in developing writing abilities, especially within discipline-specific contexts and nonfiction genres. Individual conferences with instructor and peer workshops. Prerequisite: first level of the writing requirement or equivalent transfer credit. For more information, see http://www.stanford.edu/dept/undergrad/cgi-bin/drupal_pwr/advanced_pwr.
Last offered: Spring 2016 | Units: 3 | UG Reqs: WAY-CE

PWR 91HT: Telling Your Story as Counterstory: The Rhetoric of Critical Race Theory (CSRE 91B)

Critical Race Theory (CRT), developed by legal scholars in the 1970s, proposes that marginalized folk use their own stories to reframe discussions about racism, particularly through a creative practice called counterstory. This course will take a deep dive into counterstory as a creative form of resistance and intercultural communication. Students will develop the skills to respond to a stock story with counterstory and participate in an online collective project. Students will also produce an e-portfolio.
Last offered: Autumn 2022 | Units: 4 | UG Reqs: WAY-CE, WAY-EDP

PWR 91JS: Stanford Science Podcast (EARTHSYS 157)

In this course, students will explore how podcasts can be used as a tool for effective science communication. Through a series of workshops and guest speakers, students in this course will learn the necessary journalistic and technical skills to produce high quality podcast episodes, from interviewing and storytelling to audio editing and digital publishing. Podcast episodes will highlight the cutting edge research being done at Stanford, and students will choose specific stories based on their own interests, from earth sciences to public health to big data. Final podcast episodes will be published on iTunes.
Last offered: Spring 2021 | Units: 3 | UG Reqs: WAY-CE

PWR 91JSA: Communicating Science in Public Spaces

From the fossil dinosaurs of natural history museums to the hands-on experiences of the Exploratorium, science museums offer rich opportunities for the general public to learn about diverse scientific topics. In this course, we'll go behind the scenes to see how museum exhibits, both physical and virtual, are designed and built. We will have guest lectures from museum curators and exhibit designers, and we will take field trips to experience first-hand how science can be communicated in public spaces. Using this information, we will then design and build exhibits to be displayed on campus or with a community partner. Cardinal Course certified by the Haas Center. This course does not fulfill the WR1 or WR2 requirement.
Last offered: Spring 2023 | Units: 3 | UG Reqs: WAY-CE

PWR 91KR: Scientific Opinion Writing

In a world where science influences policy as well as personal decision-making more than ever, what does it take to become an astute interpreter as well as writer of scientific opinion? In this project-based course, you'll start by exploring traditional science opinion writing genres--such as legacy newspaper opinion pages and JAMA Viewpoints--as well as how this writing differs from and for that matter complements "official" research. Then, you'll learn how to write and pitch a scientific op-ed on a topic of your choice to a real publication. We'll also take a close look at how emergent genres and media, such as science podcasts and TikTok videos, open up new possibilities for communicating scientific opinion. For a full course description visit: https://pwrcourses.stanford.edu/advancedpwr/PWR91KR This class does not fulfill the WR-1 or WR-2 requirement.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Moore, K. (PI)

PWR 91KS: Intermediate Writing: Design Thinking and Science Communication

Effective communication of expert knowledge in the sciences to non-specialist audiences. Project-based work on a range and variety of communication challenges, contexts, and media. For students who have completed the first two levels of the writing requirement and want further work in developing writing abilities, especially within discipline-specific contexts and nonfiction genres. Individual conferences with instructor and peer workshops. Prerequisite: first two levels of the writing requirement or equivalent transfer credit. For more information, see https://undergrad.stanford.edu/programs/pwr/explore/notation-science-writing.
Last offered: Autumn 2015 | Units: 4 | UG Reqs: WAY-CE

PWR 91KSA: Intermediate Writing: Storytelling and Science

What is story? What is storytelling? And why would storytelling be crucial for science communication? In this class we will develop your Story IQ: we will learn how humans evolved to be the storytelling animal, how stories shape our lives, and why and how science communication needs storytelling in order to be relevant to public audiences. We'll move from looking at story architecture, to critiquing story structures (and stories) in science communications, and then to creating compelling stories of our own that communicate and/or correct science research or discovery. For course video and full description, visit https://undergrad.stanford.edu/programs/pwr/courses/additional-elective-courses/science-and-storytelling.
Last offered: Spring 2020 | Units: 4 | UG Reqs: WAY-CE

PWR 91OID: Creating Your Digital Self: The What, How, and Why of Building an Online Presence

Have you ever Googled yourself? If so, what information about you rises to the top? A picture of you in your band uniform from your high school? A video you posted to TikTok? Maybe scores from a 5K you ran last year? It might seem like you do not have much control over what you see about yourself in a Google search, but the fact is, you do. The more of your own content you create, the more your self-created information will rise to the top. In this class, you¿ll compose and fine-tune an ePortfolio (i.e. a website) that highlights your best work and tells the story behind it. In in-class activities, formal feedback, guest talks, and one-on-one conferences, you will be guided through the process of creating a compelling, multidimensional online portfolio. We will examine how to connect with different audiences (including alumni and prospective employers), explore how to pique readers¿ interest, and delve into how you can represent your authentic self in compelling terms.
Last offered: Winter 2023 | Units: 3 | UG Reqs: WAY-CE

PWR 91RW: Ethnofuturist Rhetorics: Imagining the Future of Race (CSRE 91RW)

In this project-based course, we will explore ethnofuturism, a rhetorical movement to imagine the future of race relations in our society. We will engage with and analyze various narrative forms (such as films, stories, comics, virtual reality projects, and science writing) produced by authors, artists, and creatives like W. E. B. Du Bois, Derrick Bell, Octavia Butler, Ken Liu, Bao Phi, Wenuri Kahiu, Lisa Jackson, Grace Dillon, Marjorie Liu, and Sana Takeda. Our goal will be to explore how these narratives envision the future consequences of existing racial systems and imagine alternative possibilities for societal race relations. For a full course description visit https://pwrcourses.stanford.edu/pwr-91rw-ethnofuturist-rhetorics-imagining-future-race
Terms: Aut | Units: 3 | UG Reqs: WAY-CE, WAY-EDP
Instructors: ; Wolfson, R. (PI)

PWR 91SP: Intermediate Writing: Doctors' Stories: The Rhetoric of Illness and Healing

While medicine is a science that relies on meticulous research and professional protocols, it is also full of characters, conflicts, scenes, dialogues, and resolutions; in other words, stories. This course explores why we must value communication in medicine and how narratives mediate that communication. During the quarter, you will pursue independent research on a topic of your choice in the health sciences and practice interviewing experts as well as writing accurate and engaging science journalism in a number of genres: the story pitch, the news story, and the profile. Your final project will be a research-based digital magazine story coached by the Stanford Storytelling Project.
Last offered: Spring 2022 | Units: 3 | UG Reqs: WAY-CE

PWR 194AV: Topics in Writing & Rhetoric: Drawn from Life: The Power of True Stories in Autobio Comics

The most impactful, fantastical stories often come not from fiction but from our own richly diverse lives. In this course you will explore autobiographical comics as a form of personal narrative ideally suited for communicating purposeful messages about culture, identity, and experience. We will embark on an immersive journey through comics in which authors tell their own true stories with rhetorical purpose, such as revealing the nuances of cultural identity, illuminating the experiences of marginalized communities or perspectives, and/or promoting advocacy or change. You will engage in deep analysis of how these comics reveal and help create the rhetorical practices of particular cultural communities. No drawing experience or expertise is required. For more information see https://undergrad.stanford.edu/programs/pwr/courses/additional-elective-courses-writing-and-rhetoric
Last offered: Winter 2022 | Units: 3-4 | UG Reqs: WAY-A-II, WAY-CE

SINY 30: Sculpting with Sounds, Images and Words

Throughout history and across the world, cultures abound in multimedia forms. Whether in a Billie Eilish Music Video or Janet Cardiff's AR works, grammarly adds or Broadway musicals, Japanese anime or Indonesian shadow puppetry, the three modes of expression- sounds, images, and words - are interwoven in meaningful but distinctive ways. What are their individual and combined powers? What is unique about the poetry of intermodal metaphor? We will face these questions in creative projects as well as through in-class viewing of multimedia examples, analysis and debates, readings, and student presentations. The creative projects will be viewable on the Web and produced using free downloadable audio and video tools. Prior experience in music, literature, art practice or computer programming is welcome but not required. WAY-CE
Terms: Aut, Win | Units: 4 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Kapuscinski, J. (PI)

SINY 32: Artists Under the Influence: Creation on Location

New York City ranges from beautiful to oppressive, from brick tenement to glass tower. The city attracts and repels, clutches and ejects. But one thing never changes -- the fascination it exerts on actors and writers. It continues to be the ulimate aspiration and inspiration for theater artists. Why? In this course you will find out.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Freed, A. (PI)

SINY 114: Writing in the City: Why New York Makes Great Writers

The craft of fiction writing and introduction to the literary culture of New York. Writing exercises will tune students¿ senses to the rhythms of New York. Students produce their own short stories, which will be examined in workshop discussions.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE

SINY 116: Off the iPhone and Into the City: Creating a Photography Project

Learn components of photography projects and image making including content selection, intention, context, and audience. Talks by professional photographers; field trips to in the city. Two response papers about an exhibition, publication, or long-form web project during their time in New York.
Last offered: Winter 2021 | Units: 4 | UG Reqs: WAY-A-II, WAY-CE

SINY 121: On Stage and Backstage: Navigating the Landscape of Professional Theater in New York -- Real Artists

In this immersive intensive, students will learn the basics from professionals in the fields of Acting, Directing, Theatrical Management, Union Representation and Stage Management. Lectures and interactive workshops moderated and run by Kay Kostopoulos will feature her former Stanford students and professional colleagues who have achieved significant success in the New York arts scene.
Last offered: Autumn 2021 | Units: 4 | UG Reqs: WAY-CE

SINY 140: Mapping, time, space, and culture

New York, the financial and cultural capitol of the nation, provides an extraordinary laboratory for exploring the art and science of information representation. The proposed course aims to engage students in a broad swath of art and culture, contextualized by studying the sociopolitical urban landscape.
Last offered: Winter 2018 | Units: 4 | UG Reqs: WAY-A-II, WAY-CE

SINY 142: Documenting New York

Documenting New York is a film studies course (with a small video production component) exploring the rich history and many cultures of New York through the classic documentary films that have been produced throughout the city¿s past hundred years.Through the lens of documentary films that feature New York City as a landscape and central subject, students will gain a greater understanding of the documentary film form itself, considering aesthetic and formal issues, as well as ethical issues related to the politics of representation.
Last offered: Spring 2018 | Units: 4 | UG Reqs: WAY-CE

SINY 152: Film: The City as Muse

Has a film ever challenged your beliefs, transformed your understanding of an issue, left an emotional aftershock, or motivated you to act? Was that the intention of the filmmaker or an unanticipated consequence? Since the inception of the motion picture, the urban landscape and its inhabitants have served as a rich and diverse palette for filmmakers. This course will provide an overview of documentary, experimental, and hybrid films that proffer an unexpected and sometimes disturbing perspective on cities, both here and abroad. We will examine films that privilege artistic expression and expand the conventions of the film form, analyzing how filmmakers distill an issue, situation, or environment through a particular formal style and point-of-view.nnThrough a consideration of iconic historic films, the student will gain a rich understanding of how cities have inspired filmmakers who work outside the traditional fiction genre. In addition to written assignments, students will distill their own experience of the city through photo essays that explore the eclectic geographic, social, and cultural life of New York. Local ¿field trips¿ will include attendance at the annual Margaret Mead Film Festival in October and DocNYC in November. Course readings and discussion will provide an incisive inquiry into the artistic ¿voice¿ of the filmmaker in an analysis of both form and content.
Last offered: Autumn 2018 | Units: 4 | UG Reqs: WAY-A-II, WAY-CE

SURG 143: Anatomy for Artists (ARTSTUDI 243)

Lectures highlight the intersections and influences between human anatomy and art. Studio sessions provide an opportunity for students to immerse in anatomically inspired studio projects. Drawing, mixed media, and some painting mediums will be used during the studio sessions. Plastic models, dry bones, cadaveric specimens, and live models will be used for the studio sessions. Class time includes art instruction, creation and feedback. May be repeated for credit. Honing individual style is encouraged; both beginning and advanced students are welcome.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE

TAPS 21: StoryCraft

StoryCraft is a hands-on, experiential workshop offering participants the opportunity, structure and guidance to craft compelling personal stories to be shared in front of a live audience. The class will focus on several areas of storytelling: Mining (how do you find your stories and extract the richest details?); Crafting (how do you structure the content and shape the language?); and Performing (how do you share your stories with presence, authenticity and connection?)
Last offered: Spring 2018 | Units: 2 | UG Reqs: WAY-CE

TAPS 21AR: StoryCraft: Athlete Relationships (FEMGEN 21R)

What are the roles of sex, sexuality, intimacy, and relationships in my life? How do I tell a compelling story? In this class, you will learn about these topics from the inside out. We will explore various perspectives on sexuality, intimacy, and relationships and then dive into our own stories to discover the richness and vibrancy of our lived experience. Due to the personal nature of the topic, we will emphasize safety, trust, and confidentiality throughout. The class offers the structure and guidance to 1) mine your life for stories, 2) craft the structure and shape of your stories, and 3) perform with presence, authenticity, and connection. Students will be selected from this class to tell their stories in Beyond Sex Ed during NSO 2024. Please fill out this short application for enrollment: bit.ly/Spring2024StoryCraft.
Last offered: Winter 2022 | Units: 2 | UG Reqs: WAY-CE

TAPS 21S: StoryCraft: On Relationships (FEMGEN 21S)

Do we need love? And if so, what does it look like? In this class, students will learn about relationships from the inside out: through an examination and telling of their lived experiences. We will explore various perspectives on intimacy and relationships that illuminate different aspects of our lives, and then dive into our own stories to discover the many facets of intimacy. Due to the personal nature of the topic, we will emphasize safety, trust, and confidentiality throughout. The class offers the structure and guidance to 1) mine your life for stories, 2) craft the structure and shape of your stories, and 3) perform with presence, authenticity, and connection. Please fill out this short application for enrollment: bit.ly/Fall2020StoryCraft
Last offered: Autumn 2022 | Units: 2 | UG Reqs: WAY-CE

TAPS 21T: StoryCraft: Sexuality, Intimacy & Relationships (FEMGEN 21T)

What are the roles of sex, sexuality, intimacy, and relationships in my life? How do I tell a compelling story? In this class, you will learn about these topics from the inside out. We will explore various perspectives on sexuality, intimacy, and relationships and then dive into our own stories to discover the richness and vibrancy of our lived experience. Due to the personal nature of the topic, we will emphasize safety, trust, and confidentiality throughout. The class offers the structure and guidance to 1) mine your life for stories, 2) craft the structure and shape of your stories, and 3) perform with presence, authenticity, and connection. Students will be selected from this class to tell their stories in Beyond Sex Ed during NSO 2024. Please fill out this short application for enrollment: bit.ly/Spring2024StoryCraft.
Terms: Spr | Units: 2 | UG Reqs: WAY-CE
Instructors: ; Booth, B. (PI)

TAPS 26N: Can Beauty Save the World?: Climate Change and the Arts

Climate failure is caused, among other things, by our failure to imagine a more sustainable way of living on and with our planet. In this class, our main effort is to move away from dystopian visions of climate futures, and to try to imagine new ways of picturing climate crisis, so that we can engage it more effectively. This is a hands-on, project-based class. Its main goal is to help students develop their art projects addressing climate crisis, and inform them with resources available to realize their projects.
Terms: Aut, Spr | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Jakovljevic, B. (PI)

TAPS 30: Introduction to Theatrical Design

Introduction to Theatrical Design is aimed at students interested in exploring the fundamentals of design for the stage. Students are introduced to the practical and theoretical basics of design and are challenged to answer the question: What makes good design? Students should expect to try their hand at communicating their ideas visually through research, drawing, sketching and model making. Readings, field trips, guest lecturers and class discussion will complement these projects. This course is intended as a gateway to more specialized courses in set, costume and lighting design and is also an excellent primer for actors, directors and scholars who wish to know more about design. Collaboration will be emphasized. No prior experience in these areas is necessary.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Bodurtha, R. (PI)

TAPS 31: Introduction to Lighting and Production

Good visual storytelling begins and ends with good lighting. All visual storytelling forms--from photos to films to stage productions--provide a canvas in which lighting paints the scene. Lighting sets a mood, a tone, and can shape character and stories. This course teaches critical thinking, how to conduct thorough research, practical skills, and a mindfulness for live artforms.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-CE
Instructors: ; Mejia, C. (PI)

TAPS 42: Costume Construction

Course will cover the basics of costume and garment construction. Includes hand and machine skills as well as basic patterning ideas that may be applied to more advanced projects. Lecture/Lab
Last offered: Winter 2022 | Units: 2 | UG Reqs: WAY-CE

TAPS 60: How We Sing: The Voice, How It Functions, and the Singer's Mind (MUSIC 60)

A weekly lecture course for singers, pianists, directors, conductors, and anyone who is interested in the art and craft of the voice. The voice is an instrument whose sounds are determined by its structure and the choices the singer makes. Students will learn how the voice works: the physiology of the instrument, breathing, resonance, and adjustments the singer makes to the instrument to produce sounds appropriate for various styles of vocal music. This course is intended for singers, pianists, conductors, musical directors and directors of groups that include singers, regardless of style or size of ensemble, with the goal of promoting excellent and healthy vocal performance. Ability to sing and/or read music is not required; this is not a voice class.
Last offered: Spring 2023 | Units: 1 | UG Reqs: WAY-CE

TAPS 99: Kinesthetic Delight: Movement and Meditation (LIFE 99, WELLNESS 99)

The words meditation and mindfulness often conjure images of people sitting quietly in peaceful contemplation. However, as contemplatives and scholars from various fields have argued, though the brain resides in the cranium, the mind functions throughout the body. Students in this class will playfully explore embodied and dynamic forms of meditation and mindfulness through movement in an effort to integrate the mind and body. Examples of modalities include Lisa Nelson's Tuning Scores, Barbara Dilley's Contemplative Dance Practices, and other movement practices including qigong, laughter yoga, and psychogeography. Students will work in teams to develop their own movement-meditation scores inspired by these practices.
Terms: Win | Units: 1-2 | UG Reqs: WAY-CE | Repeatable 2 times (up to 4 units total)
Instructors: ; Otalvaro, G. (PI)

TAPS 100: Introduction to Theater Practice (TAPS 211)

Two-time OBIE-winning instructor Young Jean Lee has written and directed ten shows with her theater company, toured her work to over thirty cities around the world, and directed three short films that showed at festivals including Sundance and Locarno. In this class, students will be given space and support to research and experiment with areas of interest in theater and performance practice that are relatively new to them. Potential subjects for study include acting, directing, designing, choreographing, and writing. You can choose to focus a little on everything, investigate one new area, or try out a few different things. In-class work will include collaboration on projects to practice new skills. If interested, please email the instructor at yjl@stanford.edu on or after December 14 (any request sent sooner will not be considered) with the following: 1) Your year of study; 2) Your major/prospective major; 3) Your previous theater and performance practice experience; 4) Potential area/s of interest for this class.
Terms: Aut, Win | Units: 1-4 | UG Reqs: WAY-CE | Repeatable 6 times (up to 24 units total)
Instructors: ; Lee, Y. (PI)

TAPS 101P: Theater and Performance Making (TAPS 371P)

A creative workshop offering a range of generative exercises and techniques in order to devise, compose and perform original works. Students will explore a variety of texts (plays, poems, short stories, paintings) and work with the body, object and site. nnStudents will be encouraged to think critically about various compositional themes and ideas including: the relationship between form and content, aesthetics, space, proximity, and audience. Students will work independently and collaboratively creating original performances.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE

TAPS 103: Beginning Improvising

The improvisational theater techniques that teach spontaneity, cooperation, team building, and rapid problem solving, emphasizing common sense, attention to reality, and helping your partner. Based on TheatreSports by Keith Johnstone. Readings, papers, and attendance at performances of improvisational theater. Limited enrollment. Improv, Improvisation, creativity and creative expression. Limited enrollment. 20 students enrolled on first come, first served basis. Remaining available filled by students on the waitlist, with priority given to TAPS majors/minors and those who have been unable to take the class previously due to limited capacity. In order to claim your spot off the waitlist, please attend the first day of class.
Terms: Aut, Win, Spr | Units: 3 | UG Reqs: WAY-CE

TAPS 115A: Vocal Audition for Musical Theater: Acting and Singing Technique for Musical Theater Auditions

The world of Musical Theater is filled with stories of love, passion, joy, violence, heartbreak and rage. nnIn this workshop we will research, study and practice audition pieces from this exciting performance discipline. The class will serve as an introduction for the beginning actor and singer, and expand the more experienced performer¿s range in this genre. nnThe class will include an introduction to vocal warm-ups and skills, with exercises to develop and determine vocal range with an accompanist. In preparation for a well-rounded audition, the instructor will work with the actors on utilization of action, specificity of language, personalization, and emotional truth. nnOur class must be a place where everyone feels safe. As ensemble members, we will be responsible for each other and encourage a sense of play and relaxation in supportive environment.nnSTUDENTS ARE ENCOURAGED TO BRING THEIR OWN SUGGESTIONS. (Isn¿t there a role you¿ve always wanted to sing?)
Last offered: Spring 2021 | Units: 3 | UG Reqs: WAY-CE

TAPS 119M: Special Topics: Building the Digital Body: Decoding Live Video in Performance

TAPS 119M Special Topics courses feature the annual Mohr Visiting Artist. The Mohr Visiting Artist program brings acclaimed and emerging artists to campus for a one-term period to teach a credited course and provide a presentation, exhibition or performance for the Stanford community and the public. The 21-22 Mohr Visiting Artist is Mikeah Jennings.nn"Real Time Film" is a conceptual model conflating performance, television, and movies. It's a live movie that examines the use of the image in entertainment, how we experience the image versus its manufacture, the split between surface and interior, and the different layers of truth. (Caden Manson, Big Art Group)nnThis Special Topics course is a collaborative workshop, introducing the digital performance style known as Real Time Film. Students will learn fundamental techniques to build upon their performance knowledge while engaging with live-feed cameras, and projections, on stage in real time. This workshop will focus particular attention on the actor in performance, ensemble building, company engagement, and an investigation of the dramaturgy and production techniques of contemporary performance companies utilizing live camera feeds and video projection onstage. Students will explore the works of contemporary companies like The Builders Association, The Wooster Group, Big Art Group, Jay Scheib, as well as international companies like The Gob Squad (UK), Katie Mitchell (UK) and others. The workshop interweaves principles of stage acting, on camera performance, and generative work to help the actor develop the skills that are being used more and more in virtual and mediated performances. Workshop sessions will be supplemented by readings, screenings and professional examples.
Last offered: Autumn 2021 | Units: 3 | UG Reqs: WAY-CE | Repeatable 2 times (up to 6 units total)

TAPS 120A: Acting I: Fundamentals of Acting

A substantive introduction to the basics of the craft of acting, this course gives all incoming students the foundation of a common vocabulary. Students will learn fundamental elements of dramatic analysis, and how to apply it in action. Topics include scene analysis, environment work, psychological and physical scoring, and development of a sound and serviceable rehearsal technique. Scene work will be chosen from accessible, contemporary, and realistic plays. Outside rehearsal time required.
Terms: Aut, Win, Spr, Sum | Units: 4 | UG Reqs: WAY-CE

TAPS 120B: Acting II: Advanced Acting

In this course, students will learn how to expand character work beyond what is immediately familiar. We will continue basic practices from the first part of the sequence, and look beyond the strictly contemporary. We will approach roles drawn from more challenging dramatic texts, including those with heightened language and circumstances.nnWe will begin with a focus on strengthening the actor's skill as an interpretive artist, utilizing exercises that build the capacity for physical and emotional expressiveness. We will explore how a performing artist researches and how that research can be used to enrich and deepen performance. We will practice how to act truthfully and vividly in a variety of theatrical styles. nnStudents will practice techniques developed by Michael Chekhov, Jerzee Grotowski, and Rudolf Laban, among others. Through monologue and scene work, we will explore performance styles including commedia dell'arte, the comedy of Molière, and postmodern theatre. Our scene and monologue work will culminate the last week of school in a final performance.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE | Repeatable 2 times (up to 6 units total)
Instructors: ; Agbabiaka, R. (PI)

TAPS 120M: Audition and Monologue

Auditioning is an essential part of being an actor. This class will demystify the process, so that students develop the skill and confidence to prepare an effective audition. Cold reading and making committed clear acting choices in scenes and monologues will be covered. Students will learn how to choose exciting and suitable monologues that reveal the actor's individuality and skill. In the class, students will practice addressing stage fright through preparation, warmup, and breathing to focus nerves into performance vitality and ease. Several guest speakers from the theater and film industry may be featured. Students will complete the class with at least two dynamic contrasting monologues that will serve them in auditions. This class is ideal for students auditioning for theater productions, recorded media, or for acting conservatories and graduate schools. Enrollment preference given to TAPS majors and minors. Prerequisite: Fundamentals of Acting (TAPS 120A), or approval of the instructor.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Hunt, S. (PI)

TAPS 121V: Voice for the Actor

This course will focus on releasing a voice that effectively reaches the listener and is responsive to the actor's thoughts and feelings. Through work on breath awareness, alignment, resonance, and muscularity, students will learn to identify habits that help or hinder performance. Students will practice exercises to develop vocal strength, clarity, ease, and expressiveness while exploring the vocal demands of various texts and performing environments. Course will culminate in a presentation of classical and contemporary monologues. This course is a good preparation for auditions, rehearsal, and performance, and is appropriate for all levels. Priority space reserved for TAPS majors and minors.
Terms: Aut | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Hunt, S. (PI)

TAPS 122P: Undergrad Performance Project

The Undergraduate Performance Project provides students the opportunity to study and perform in major dramatic works. Students learn to form an artistic ensemble, develop dramaturgical materials, learn professional arts protocols and practice, devise within the ensemble, and develop live performance ability. Audition required. Preference to majors/minors. Evening rehearsals are required. Full schedule will be released during casting. Maybe repeated for credit. 3 maximum completions allowed. If repeated, 15 total units allowed.
Terms: Spr | Units: 1-9 | UG Reqs: WAY-CE | Repeatable 3 times (up to 15 units total)
Instructors: ; Gutierrez, K. (PI)

TAPS 123V: Voice II: Dialects and the International Phonetic Alphabet (I.P.A.)

One of the most exciting ways an actor can portray a character is by making vocal choices and through use of language - speaking a character's dialect can be crucial to that. Like a costume, dialect helps tell the story of the character and create an authentic fictional world for the audience. In this course, we will explore how to learn, rehearse, and perform dialects using a method that is effective, respectful, and fun. Learning a dialect involves investigating cultural context, vowel and consonant shifts, inflection, rhythm, vocabulary, word pronunciation, and oral posture (where in the mouth the sounds are made and how the mouth shapes sound). In this class, there will be a focus on listening with awareness, sound analysis, and experientially playing with specific dialects. Dialect biases, conscious and unconscious, will be examined. Context, specificity, and intent will be explored so that stereotyping through dialect can be understood and avoided. Together the class will learn and practice two dialects, using some of the symbols of the International Phonetic Alphabet and Wells' Lexical Set. Resources for finding dialects (books, links, apps, coaches, personal interviews) will be identified. The class will culminate with students researching a specific dialect, learning it well enough both to speak it with a text and teach it to others. In the process, we will identify features of our own individual dialects, known as idiolects. Enrollment preference will be given to TAPS majors and minors. There are no prerequisites to take this class, although it will be useful to have taken Voice for the Actor in advance.
Last offered: Winter 2023 | Units: 3 | UG Reqs: WAY-CE

TAPS 124D: Acting for Non-Majors

This is a non-major studio class designed to introduce fundamental acting techniques and to provide performers with foundational exercises upon which to build an ever more sophisticated practice for performing onstage. nnCooperative group exercises and close observation of human behavior in oneself and in one's environment will form the core of this course's exploration. nnThrough psychophysical exercises, theatre games, improvisation, rehearsal, and presentation of assigned work, students will develop the actor's most valuable tools: the body as our essential instrument, point of view, imagination, relaxation, spontaneity, listening and responding truthfully, and creating with an ensemble.
Terms: Aut | Units: 1-3 | UG Reqs: WAY-CE, way_ce
Instructors: ; Agbabiaka, R. (PI)

TAPS 127: Movement for the Actor

This course is an exploration of movement techniques for the actor, designed to provide a foundation for performance practice. Students will develop a more grounded sense of ease and breath onstage, learn fundamentals of physical partnership, and acquire an expanded physical vocabulary. Areas of study include Laban movement analysis, observation and embodiment, basic contact improvisation, and physical characterization. Students will also engage a personalized warmup process for rehearsal and performance. All coursework will be entirely experiential, practical, and participatory. No previous experience necessary. Some outside rehearsal/investigation time required.
Terms: Aut, Spr | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Chapman, M. (PI)

TAPS 127A: Commedia dell'Arte

This course is an introduction to the technique and spirit of Commedia dell'Arte: the form which began in Italy in the 16th century and lives on in contemporary comedy. Through the observation and embodiment of archetypes and the use of character masks, students will explore active, physical improvisation and partnership (improviso), personalized comic routines (lazzi), and ensemble storytelling based on a theme. Areas of study include partnership and status play, timing, audience awareness, improvisation, characterization, size and scale. All coursework will be experiential and practical. Some stage and improvisation experience is recommended but not required. Some outside rehearsal/investigation time required.
Last offered: Spring 2019 | Units: 3 | UG Reqs: WAY-CE

TAPS 127P: The Spirit of Play

This course is designed to liberate actors and other human beings through immersion in the 'state of play,' and by providing a set of tools for its cultivation. Awareness, availability, fun, and spontaneity are natural components of playing - but they often fade when actors step onto the stage (or when non-actors step into an important task). Students will develop their capacity to respond freely and to innovate with joyful freedom. In this course, we seek to dissolve the barriers between playfulness and our actions, in order to become more free, authentic, comfortable, and happy - onstage and off. In addition, students will learn creative methodologies for using 'play' to develop new material for the theatre. Developed specifically for Stanford students, this course takes perspectives from clown and physical theatre practice. Using games, improvisation, inquiry, and self-reflection, we will attend the capacity for 'play' like a muscle that can be strengthened. No previous experience is necessary; out-of-class investigation will be required weekly.
Terms: Aut | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Chapman, M. (PI)

TAPS 127W: Introduction to Clown

This course is an introduction to the world and play of the theatrical clown, constructed for actors to explore truth in size, vulnerability, and a personal sense of humor. Students will develop their ability to play with the audience, a greater capacity for freedom and abandon onstage, and a healthier relationship to failure and human idiocy. Areas of study include partnership and status play, comic rhythm and timing, the structure and development of comic material, and the beginnings of a personal eccentric Clown character. All coursework will be experiential and practical. Some stage experience is recommended but not required. Some outside rehearsal/investigation time required.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Chapman, M. (PI)

TAPS 128: Acting Intensive: On Camera Acting Technique

In this workshop we will explore film scripts and research iconic performances to introduce the beginning film actor to this exciting genre. nnThe class will begin with familiarization of performance skills to relax and relate to the camera. Students will then choose one scene and one monologue from online scripts provided by the instructor, or though their own research. Scripts will range from contemporary film to the ¿Golden Age of Black and White¿-- from screwball comedy to film noir. nnThe actors will learn on camera technique, utilization of action, specificity of language, personalization, and emotional truth. nnSTUDENTS ARE ENCOURAGED TO BRING THEIR OWN SUGGESTIONS. (Isn't there a role you've always wanted to play?)
Last offered: Winter 2021 | Units: 3 | UG Reqs: WAY-CE

TAPS 128R: The Actor's Reel

Two-time OBIE-winning instructor Young Jean Lee is a writer, director, and filmmaker who has directed her plays in more than eighty cities around the world. In this class, students will learn what constitutes a strong professional acting reel and how to go about putting one together. You will learn monologues and scenes (which will be filmed), identify your strongest performances (from work you have done in and/or out of class), and edit them together into a reel. If interested, please email the instructor at yjl@stanford.edu on or after December 15 (any request sent sooner will not be considered) with the following: 1) Your year of study; 2) Your major/prospective major or field of study; and 3) A description of your previous acting experience. Preference given to second years and above.
| Units: 2-4 | UG Reqs: WAY-CE

TAPS 132: Costume Design

This course introduces the goals, directives and techniques of designing costumes for performance. From the first reading of the script to opening night, all aspects will be covered including director/designer relationships, design approach, research, rendering, fabric selection, procurement or construction of costumes, fittings and final dress rehearsals. Each student will work on, or be assigned one main project of their choice. This class can coincide or be taken in advance of a student's involvement in a campus show, utilizing the campus project as their main project in the class. Smaller exercises will be given throughout the quarter to emphasize principles and invigorate design discussions. All students will be required to attend the performances of their peers' projects. One field trip to a professional theater may be planned.
Last offered: Autumn 2022 | Units: 4 | UG Reqs: WAY-CE

TAPS 132S: Shopping, Styling, and the Culture of Costume

This course will examine the practical world of costume and clothing. We will discuss the practice and techniques of shopping for TV, film and theatre, and how to use shopping as a tool for design. We will also explore the ways culture influences how we see clothes in relation to character. Practical projects will include script analysis, visual research, shopping, and exploring closets and costume stocks. We will talk to professional shoppers and stylists to understand better what it is like to work in these fields. The final project will allow students to show their ingenuity and explore design in this very practical, but very creative way!
Last offered: Autumn 2021 | Units: 4 | UG Reqs: WAY-CE

TAPS 133: Set Design

This class introduces students to the creative and collaborative process of Scenic Design. The course covers an overview of basic design theory and its applications and explores how styles in art, architecture and design have evolved over time. The class provides a vocabulary for the discussion, appreciation, participation and evaluation of theatrical design specifically as it relates to the scenic elements of the production. Students will become comfortable with expressing ideas and relaying information through sketching, storyboarding, and rendering- both by hand and using available digital tools. This is a project-based class and course work involves engaging with readings, lecture material, research, critical analysis, and rendering with basic digital tools and physical prototyping.
Terms: Win | Units: 3-4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)
Instructors: ; Ball, N. (PI)

TAPS 133T: Transgender Performance and Performativity (FEMGEN 133)

This course examines theater, performance art, dance, and embodied practice by transgender artists. Students will learn the history and politics of transgender performance while considering the creative processes and formal aesthetics trans artists use to make art. We will analyze creative work in conversation with critical and theoretical texts from the fields of performance studies, art history, and queer studies.
Last offered: Autumn 2019 | Units: 4 | UG Reqs: WAY-A-II, WAY-CE

TAPS 135M: Introduction to Multimedia Production

Students will learn filmmaking basics and apply them by creating a number of short multimedia projects to be shown and discussed in class. Hands-on practical instruction will cover the fundamentals of story, cinematography, sound recording, picture and sound editing, directing for camera, and producing. Critical analysis will focus on a variety of uses of prerecorded sound and video in theater productions, podcasts, web series and other digital media, as well as film and television.
Terms: Win | Units: 3-4 | UG Reqs: WAY-CE
Instructors: ; Bresenham, D. (PI)

TAPS 138: Introduction to Theater Sound Design (MUSIC 184F)

This course explores the history and aesthetics,of theatre sound design, and provides the basic technical knowledge to create your own work. Learn how to analyze a script for sound design elements, gain practical knowledge of microphones and loudspeakers, sound editing and cueing software, and put your knowledge to work creating your own design.
Last offered: Spring 2020 | Units: 4 | UG Reqs: WAY-CE

TAPS 150G: Performing Race, Gender, and Sexuality (ARTSINST 150G, CSRE 150G, CSRE 350G, FEMGEN 150G, LIFE 150G)

In this theory and practice-based course, students will examine performances by and scholarly texts about artists who critically and mindfully engage race, gender, and sexuality. Students will cultivate their skills as artist-scholars through written assignments and the creation of performances in response to the assigned material. Attendance and written reflection about a live performance event on campus are required. Students will also learn various meditation practices as tools for making and critiquing performance, in both our seminar discussions and performance workshops. We will approach mindfulness as method and theory in our own practice, as well as in relation to the works studied. We will also consider the ethics and current debates concerning the mindfulness industry. Examples of artists studied include James Luna, Nao Bustamante, Renee Cox, William Pope.L, Cassils, boychild, Curious, Adrian Piper, Xandra Ibarra, Valérie Reding, Guillermo Gomez-Peña, and Ana Mendieta.
Last offered: Autumn 2022 | Units: 4 | UG Reqs: WAY-CE, WAY-EDP

TAPS 151: Dramaturgy (TAPS 315)

Dramaturgy is one of the most transferable skills in performing arts. With its integration of scholarly research and creative practice, dramaturgy is in a position to augment all other areas of performance. For example, more often than not a good director or a good choreographer is also a good dramaturg: an ability to analyze, adapt, and transform an existing dramatic text or weave devised actions into a narrative is essential for the success of a performance; likewise, acting becomes greatly enriched by performers' ability to grasp internal workings of a dramatic text; finally, any kind of design (stage, costume, light, or digital) benefits from skillful plotting of the story through images and sounds. In this class, students will get acquainted with theoretical and historical sources of dramaturgy and explore procedures and techniques they can use in their work on productions.
Last offered: Spring 2023 | Units: 4 | UG Reqs: WAY-A-II, WAY-CE

TAPS 155: Social Sculpture (ARTSTUDI 155)

This course investigates the body as sculptural material in order to investigate private and social spaces. Through the development of projects in the realm of social practice, performance, and/or audience interaction, students will explore what it means to accept all aspects of life as potential sculpture. Artistic actions will be used to understand or question the function and psychological aspects of a space. We will use the social as material form for experimentation to combine language, concept, action, place, and object with civic engagement, participatory embodiment to structure the social.
Last offered: Winter 2023 | Units: 4 | UG Reqs: WAY-CE

TAPS 170A: The Director's Craft (TAPS 370A)

Are you interested in directing as a career, or would like to more about directing in order to direct a show on campus? This workshop class leads students into becoming directors of theater, musicals, and even film/media project. The course will cover a wide range of topics from investigating the big ideas of a story, to working with actors and designers, and include many opportunities to direct short scenes, as well as a final culminating directing project. Particular emphasis will be on building up the world of the story through design, character work and visual composition. Over the quarter we will look at casting actors, working with designers and creating safe, efficient and fun rehearsals as well as pathways to the industry. No previous directing experience in necessary.
Last offered: Spring 2022 | Units: 4 | UG Reqs: WAY-CE

TAPS 170B: Directing Workshop: The Actor-Director Dialogue (TAPS 372)

This course focuses on the actor-director dialogue. We will work with actors and directors developing approaches to collaboration that make the actor-director dialogue in theater. TAPS Ph.D. students are required to enroll in TAPS 372 for 4 units. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways-AII credit.
Terms: Spr | Units: 2-4 | UG Reqs: WAY-A-II, WAY-CE | Repeatable for credit

TAPS 170W: Laughter & Play for Wellbeing (LIFE 170, WELLNESS 170)

Learn about and practice laughter yoga, combined with theater exercises. Laughter yoga (distinct from traditional movement-based yoga) is a modality that integrates laughter exercises with yogic breathing. Explore the growing field of research on laughter yoga and its positive effects on wellbeing and other health outcomes. Examine the various dimensions of laughter yoga as a form of cardiovascular and aerobic exercise, mindfulness, and play. Use theater exercises to leverage the power of performative, healing laughter and to cultivate embodied awareness, creativity, resilience, and joy. Readings and exercises will draw from the work of pioneers in the fields of laughter wellness and socially engaged theater, such as Madan Kataria and Augusto Boal.
Last offered: Winter 2023 | Units: 1-2 | UG Reqs: WAY-CE

TAPS 173: Making Your Solo Show (TAPS 273)

Are you tired of the classics? Were you frustrated by casting choices in the past? Sometimes, you have to step away from the canon and create your own work. Do you have something to say about race, class, gender, ethnicity, nationalism, sexuality, yourself, or any other issues? Did you ever want to create and perform your own show but didn't know how to start? This is your chance. In this course, you will learn techniques for creating your own solo show. nnThe contemporary solo performer is descended from a long line that includes the griots of Africa, the troubadours of medieval Europe, and the solo performance artists of the twentieth century. In this course, we will view examples of historical and contemporary live solo performance and uncover principles and practices that will help us develop our own solo shows.nnThrough exercises in acting, writing, and embodied contemplation, students will learn to discover the stories within and around them, and to give voice(s) to their burning issues in a theatrical form that is intimate, idiosyncratic, and deeply personal. The course will culminate in a workshop performance of solo pieces developed by the students.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Agbabiaka, R. (PI)

TAPS 175T: Collaborative Theater-Making (TAPS 275T)

Two-time OBIE-winning instructor Young Jean Lee has written and directed ten shows with her theater company and toured her work to over thirty cities around the world. In this workshop, students will collaboratively create a full-length piece, culminating in an invited performance during the last class. The class will involve acting for students who want to act, directing for students who want to direct, designing for students who want to design, choreographing for students who want to choreograph, and writing for students who want to write. The focus will be on how to build and sustain positive and productive collaborations. Though everyone can help with anything, each student must take on only one official creative role in the process, and they must have at least some experience in that role. If interested, please email the instructor at yjl@stanford.edu on or after September 15 (any request sent sooner will not be considered) with the following: 1) Your year of study; 2) Your major/prospective major/field of study; 3) Whether you?d like to take the class as a performer, director, designer, choreographer, or writer; and 4) What experience you?ve had so far in that role, whether in classes or in productions. Preference given to TAPS majors.
Last offered: Spring 2019 | Units: 1-4 | UG Reqs: WAY-CE

TAPS 177: Dramatic Writing: The Fundamentals (TAPS 277)

Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter's end.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-CE
Instructors: ; Freed, A. (PI)

TAPS 178C: Dramatic Writing Workshop (TAPS 278C)

Instructor Young Jean Lee is the first Asian-American woman to have had a play produced on Broadway. This workshop will guide you through the process of creating a script for a full-length play, musical, or screenplay, and will focus on helping you to make significant progress on and/or complete a draft. You will be required to write every week and give feedback on each others' work. You can be anywhere in your process, from having no idea what you want to do to being close to a final draft. This class is open to a wide range of approaches and styles, including adaptations and devised work. If interested, please email the instructor at yjl@stanford.edu on or after December 15 (any request sent sooner will not be considered) with the following: 1) Your year of study; 2) Your major/prospective major or field of study; 3) Your previous writing and/or theater experience, and your experience level with watching and/or reading plays; and 4) Whether or not you already have a project. If you do have a project, please also include: 5) How far along it is; and 6) A brief description of it. Preference given to second years and above.
Terms: Aut, Win | Units: 1-4 | UG Reqs: WAY-CE | Repeatable for credit
Instructors: ; Lee, Y. (PI)

TAPS 183C: Interpretation of Musical Theater Repertoire (MUSIC 183C)

By audition only: Contact instructor prior to enrolling (mlcats@stanford.edu). Ability to read music expected, but students with experience singing in musical theater can be accepted. For singers and pianists as partners. Performance class in a workshop setting along with lecture/discussion of important eras of musical theater history. Composers include Kern, Porter, Gershwin, Rodgers, Sondheim, Lloyd Weber, Jason Robert Brown and others. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists).
Terms: Win | Units: 1-2 | UG Reqs: WAY-CE | Repeatable 2 times (up to 4 units total)
Instructors: ; Catsalis, M. (PI)

TAPS 183E: Singing for Musicals (MUSIC 183E)

Do you love singing in musicals? Do you know how to sing in musicals? This course provides training in vocal technique and acting for students interested in performing musical theater. Students will learn about the physical process of singing, including posture, breath support, and vocal exercises. They will incorporate vocal technique with the study of phrasing in different styles of Broadway repertoire, and apply both to the art of acting the song. Through understanding vocal technique, students will become more confident and joyful performers. Admission to the course is by audition or permission of the instructor. Due to the COVID-19 situation, Singing for Musicals classes will be taught online during Spring 2021. As this can pose a problem with students in various time zones and internet arrangements, the instructor will contact all waitlisted students with more detailed information regarding video auditions and a questionnaire prior to the first class.
Last offered: Spring 2021 | Units: 2 | UG Reqs: WAY-CE | Repeatable 4 times (up to 8 units total)

TAPS 184B: Topics on the Musical Stage (MUSIC 184B)

This course is a practical workshop in vocal repertoire for the stage. Each quarter's offering emphasizes a specific genre or period, therefore the course can be repeated with permission of the instructor. In addition to broadening the student's knowledge of vocal repertoire, the following skills are developed: text preparation, foreign language translation and diction; rehearsal etiquette for performance and/or recording. Enrollment by audition only. Prerequisite: vocal or instrumental instruction, as the class is open to singers or collaborative artists. May be repeated for credit a total of 4 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 4 times (up to 12 units total)

TAPS 184C: Dramatic Vocal Arts: Songs and Scenes Onstage (MUSIC 184C)

Studies in stagecraft, acting and performance for singers, culminating in a public performance. Repertoire to be drawn from the art song, opera, American Songbook and musical theater genres. Enrollment by audition only. May be repeated for credit a total of 4 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Spr | Units: 1-2 | UG Reqs: WAY-CE | Repeatable 4 times (up to 8 units total)
Instructors: ; Catsalis, M. (PI)

URBANST 113: Introduction to Urban Design: Contemporary Urban Design in Theory and Practice

Comparative studies in neighborhood conservation, inner city regeneration, and growth policies for metropolitan regions. Lect-disc and research focusing on case studies from North America and abroad, team urban design projects. Two Saturday class workshops in San Francisco: 2nd and 4th Saturdays of the quarter. Terms: Win | Units: 5 | UG Reqs: GER:DBSocSci | Grading: Letter (ABCD/NP)
Terms: Win | Units: 5 | UG Reqs: GER:DB-SocSci, WAY-CE, WAY-SI
Instructors: ; Glanz, D. (PI)

URBANST 171: Urban Design Studio (CEE 131D)

The practical application of urban design theory. Projects focus on designing neighborhood and downtown regions to balance livability, revitalization, population growth, and historic preservation.
Terms: Spr | Units: 5 | UG Reqs: WAY-CE
Instructors: ; Glanz, D. (PI)

URBANST 183: Team Urban Design Studio (CEE 131E)

This new class offers an exciting variation on the 'individual project' studio format. Students work as a team to propose a single consensus solution to a real-world design challenge. This collaborative studio experience more closely reflects the creative process in the design and planning professions where a group of individuals works together to brainstorm, shape, develop, and illustrate a community design solution. There are a number of benefits to this team-oriented approach: it is a more nurturing environment for students that do not have design backgrounds, it allows for more peer-to-peer learning, and it takes best advantage of varied student skill sets. But perhaps the greatest benefit is that a team of students working together on a common project will be able to develop a more comprehensive solution than any one student working alone. This means that the class "deliverable" at the end of quarter could be detailed enough to be of significant value to a stakeholder or client group from the larger community. This studio class, working under the guidance of an experienced instructor, functions like a design firm in providing professional-grade deliverables to real-world community design "clients'.
Last offered: Spring 2023 | Units: 5 | UG Reqs: WAY-CE

WELLNESS 99: Kinesthetic Delight: Movement and Meditation (LIFE 99, TAPS 99)

The words meditation and mindfulness often conjure images of people sitting quietly in peaceful contemplation. However, as contemplatives and scholars from various fields have argued, though the brain resides in the cranium, the mind functions throughout the body. Students in this class will playfully explore embodied and dynamic forms of meditation and mindfulness through movement in an effort to integrate the mind and body. Examples of modalities include Lisa Nelson's Tuning Scores, Barbara Dilley's Contemplative Dance Practices, and other movement practices including qigong, laughter yoga, and psychogeography. Students will work in teams to develop their own movement-meditation scores inspired by these practices.
Terms: Win | Units: 1-2 | UG Reqs: WAY-CE | Repeatable 2 times (up to 4 units total)
Instructors: ; Otalvaro, G. (PI)

WELLNESS 105: Meeting the Moment: Inner Resources for Hard Times (LIFE 105)

In the face of social, economic, environmental, and public health upheavals, many of us are experiencing an unprecedented degree of uncertainty, isolation, and stress affecting academic and day-to-day life. Challenging times ask us, in a voice louder than usual, to identify sources of strength and develop practices that sustain and even liberate. In this experiential, project-oriented class: Explore practices to find true ground and enact positive change for self and community; Cultivate natural capacities of presence, courage, and compassion; Develop resources to share with one another and the entire Stanford community.
Terms: Aut, Win, Spr | Units: 1-2 | UG Reqs: WAY-CE | Repeatable 3 times (up to 3 units total)

WELLNESS 170: Laughter & Play for Wellbeing (LIFE 170, TAPS 170W)

Learn about and practice laughter yoga, combined with theater exercises. Laughter yoga (distinct from traditional movement-based yoga) is a modality that integrates laughter exercises with yogic breathing. Explore the growing field of research on laughter yoga and its positive effects on wellbeing and other health outcomes. Examine the various dimensions of laughter yoga as a form of cardiovascular and aerobic exercise, mindfulness, and play. Use theater exercises to leverage the power of performative, healing laughter and to cultivate embodied awareness, creativity, resilience, and joy. Readings and exercises will draw from the work of pioneers in the fields of laughter wellness and socially engaged theater, such as Madan Kataria and Augusto Boal.
Last offered: Winter 2023 | Units: 1-2 | UG Reqs: WAY-CE
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