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ARTSINST 184: Creativity: Anatomy of a Buzzword (URBANST 186)

Creativity is one of the defining values of our time, embraced by corporate CEOs, kindergarten teachers, and starving artists alike. Yet it not always clear what creativity means. This course will explore how the capacious concept of creativity has shaped contemporary ideals of work, art, technology, human nature, and the good society. Using a mix of popular texts, contemporary scholarship, and classics of social thought, we will look at what kinds of products, places, and people count as 'creative' in public conversation, and why. Particular attention will be paid to how different overlapping notions of creativity have guided arts policy, business practices, and urban economic strategy over the last few decades of capitalist development. Using Stanford itself as a case study, students will conduct field work to discover how the concept of creativity operates across and between the various departments, disciplines, and centers on campus, from the fine arts to psychology to business. Th more »
Creativity is one of the defining values of our time, embraced by corporate CEOs, kindergarten teachers, and starving artists alike. Yet it not always clear what creativity means. This course will explore how the capacious concept of creativity has shaped contemporary ideals of work, art, technology, human nature, and the good society. Using a mix of popular texts, contemporary scholarship, and classics of social thought, we will look at what kinds of products, places, and people count as 'creative' in public conversation, and why. Particular attention will be paid to how different overlapping notions of creativity have guided arts policy, business practices, and urban economic strategy over the last few decades of capitalist development. Using Stanford itself as a case study, students will conduct field work to discover how the concept of creativity operates across and between the various departments, disciplines, and centers on campus, from the fine arts to psychology to business. This research will culminate in the final group project: a multimedia archive and digital concept map of creativity discourse at Stanford. Students will come away from the class with concrete research skills and theoretical tools that will enable them to critically engage with any big ideas in the public sphere, as well as a better understanding of recent economic and cultural history underpinning our everyday assumptions and widely held values.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter (ABCD/NP)
Instructors: Franklin, S. (PI)

ARTSTUDI 153N: Ecology of Materials

This hands on studio based sculpture course takes a critical look at the materials used in sculpture and addresses the environmental concerns surrounding them. We will look at artists concerned with environmental impact and the interconnection of art to other fields. This class also 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. Existing at the intersection of art, science, technology and ecology, environmental art often functions to inform and/or interpret natural conditions and the processes associated with both "non-human" and "human-made" constructions. It will also educate us about environmental issues and concerns. This course introduces and provides a context for thi more »
This hands on studio based sculpture course takes a critical look at the materials used in sculpture and addresses the environmental concerns surrounding them. We will look at artists concerned with environmental impact and the interconnection of art to other fields. This class also 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. Existing at the intersection of art, science, technology and ecology, environmental art often functions to inform and/or interpret natural conditions and the processes associated with both "non-human" and "human-made" constructions. It will also educate us about environmental issues and concerns. This course introduces and provides a context for this area of interdisciplinary exchange and artist production by examining areas commonly known as cradle to cradle design, land art, eco art, environmental art, and art and technology. What role does sculpture play in a fragile world with depleting natural resources, global economies and media dominance? What is the life cycle of object making and creating? What is our relationship to objects in a growing technological age? Students will make 3-4 projects based on these questions. Group discussions, critiques, readings, video presentations, a field trip to a local artist-in-residence program Recology at the San Francisco Dump, visiting artists and visiting faculty from Stanford doing environmental research will augment this class.
Terms: not given this year | Units: 3 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter (ABCD/NP)

ARTSTUDI 162: Embodied Interfaces

Our computers, phones and devices ¿see¿ us predominately as fingers and single 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 will explore various sensing technologies and design pieces that engage our whole selves. Interfaces explored will range from the practical to the poetic. Sensors may involve flex sensors, heat sensors, microphones and simple camera tracking technology. We will analyze different tools for their appropriateness for different tasks and extend them through our designs.
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit
Instructors: Mendoza, N. (PI)

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: Win | Units: 3-4 | UG Reqs: WAY-A-II, WAY-CE | Repeatable for credit | Grading: Letter or Credit/No Credit

ARTSTUDI 271: The View Camera

Students will learn how to use large-format 4x5 view cameras, and explore the ways in which large-format photography enables the creation of exceptionally clear images on a par with digital imaging. They will develop sheet film and print black-and-white images in analog format. To connect the camera to contemporary digital practices students will learn to scan and digitally print from their negatives. Specific attention will be given to mastering perspective control and in-camera manipulation of the image. From a historical point of view, the course will analyze and discuss images created with view cameras by a wide range of artists from the early days of photography to the present. Students will put their skills into practice and pursue their own aesthetic by producing a portfolio of images. Prerequisite: ARTSTUDI 170, ARTSTUDI 171, or equivalent.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter (ABCD/NP)
Instructors: Felzmann, L. (PI)

ASNAMST 31N: Perspectives in North American Taiko (MUSIC 31N)

Preference to Freshman. Taiko, or Japanese drum, is a newcomer to the American music scene. Emergence of the first N. American taiko groups coincided with increased Japanese American activism, and to some it is symbolic of Japanese American identity. N. American taiko is associated with Japanese American Buddhism. Musical, cultural, historical, and political perspectives of taiko. Hands-on drumming. Japanese music and Japanese American history, and relations among performance, cultural expression, community, and identity.
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit

ASNAMST 186B: Asian American Art: 1850-Present (AMSTUD 186D, ARTHIST 186B)

In 1968, the Asian American Political Alliance began a successful campaign to jettison the designation "oriental" in favor of "Asian American." Given the term's recent genesis, what do we refer to when we discuss "Asian American art," and how can we speak of its history? This lecture class will explore these questions by considering artists, craftsmen, and laborers of Asian descent in the United States, beginning with Chinese immigration to California in the mid-nineteenth century, and extending through our current moment of globalization. We will consider their work alongside art and visual culture of the United States that engages "Asia" as a place, idea, or fantasy. Special attention will be paid to the crucial role Asia and Asian Americans played in movements including photography in San Francisco, Abstract Expressionism, Beat Culture, performance art, and New Queer Cinema. Artists include Chiura Obata, Isamu Noguchi, Yoko Ono, Nam June Paik, Manuel Ocampo, Zarina, and Wu Tsang, among many others.
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
Instructors: Kwon, M. (PI)

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.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit

CEE 32B: Design Theory

This seminar focuses on the key themes, histories, and methods of architectural theory -- a form of architectural practice that establishes the aims and philosophies of architecture. Architectural theory is primarily written, but it also incorporates drawing, photography, film, and other media. nnOne of the distinctive features of modern and contemporary architecture is its pronounced use of theory to articulate its aims. One might argue that modern architecture is modern because of its incorporation of theory. This course focuses on those early-modern, modern, and late-modern writings that have been and remain entangled with contemporary architectural thought and design practice. nnRather than examine the development of modern architectural theory chronologically, it is explored architectural through thematic topics. These themes enable the student to understand how certain architectural theoretical concepts endure, are transformed, and can be furthered through his/her own explorations.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Beischer, T. (PI)

CEE 32D: Construction: The Writing of Architecture

This seminar focuses on the construction of architectural writing. The class will analyze this idea through four topics: formal analysis, manifesto, translation, and preservation. The seminar is divided into two-week modules with each of these four concepts functioning as organizing principles. nnThe first week of each module will involve familiarizing the seminar with both the terms and rhetorical tactics of the given theme by reading and analyzing specific texts and completing a short written analysis (1-2 pages). The second week will expand upon this foundation and involve further analysis in addition to each student writing a short paper (3-4 pages) drawing on the examples discussed and their own experiences in the discipline. The goal of the seminar is for each student to be able to analyze how an architectural writing is constructed and to develop his/her skills in the construction of his/her own writing.
Terms: not given this year | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)
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