Results for ARTSINST

This seminar is offered in conjunction with the annual "Arts Immersion" trip to New York that takes place over the spring break and is organized by the Stanford Arts Institute (SAI). Participation in the trip is a requirement for taking part in the seminar (and vice versa). The trip is designed to provide a group of students with the opportunity to immerse themselves in the cultural life of New York City guided by faculty and the SAI programming director. Students will experience a broad range and variety of art forms (visual arts, theater, opera, dance, etc.) and will meet with prominent arts administrators and practitioners, some of whom are Stanford alumni. For further details and updates about the trip, see http://arts.stanford.edu.

Are you prepared for your internship this summer? This workshop series will help you make the most of your internship experience by setting learning goals in advance; negotiating and communicating clear roles and expectations; preparing for a professional role in a non-profit, government, or community setting; and reflecting with successful interns and community partners on how to prepare sufficiently ahead of time. You will read, discuss, and hear from guest speakers, as well as develop a learning plan specific to your summer or academic year internship placement. This course is primarily designed for students who have already identified an internship for summer or a later quarter. You are welcome to attend any and all workshops, but must attend the entire series and do the assignments for 1 unit of credit.

A combination of practical skill-building and discussions with practicing arts professionals, this course will provide students with the foundational skills necessary to produce programs on campus and/or work in the arts. The talks and workshops will cover topics including curatorial practice and programming (for both visual and performing arts); grant writing and other fundraising methodology; budgeting and financial management; contracts and other legal considerations; and public relations and marketing. Every session is open for drop-in attendance, or students may take the entire series for credit. May be repeat for credit.

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.

Today's vast amount of streaming and video conferencing on the Internet lacks one aspect of musical fun and that's what this course is about: high-quality, near-synchronous musical collaboration. Under the right conditions, the Internet can be used for ultra-low-latency, uncompressed sound transmission. The course teaches open-source (free) techniques for setting up city-to-city studio-to-studio audio links. Distributed rehearsing, production and split ensemble concerts are the goal. Setting up such links and debugging them requires knowledge of network protocols, network audio issues and some ear training.

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.

This course will cover changes in the business, economics, and practices of the popular music industry. It will provide a brief historical overview of the industry and its business models. The majority of the course will focus on the industry as it works today and on forces that are causing it to change rapidly. The course will feature guest artists and executives with current experience in the field, as well as project-based assignments designed to give students hands-on experience.Topics will include: Economics and business models of commercial music business,Technology and music production, Technology and music distribution, Technology and marketing, Leadership in the music industry: case studies, Managing creative projects, Copyright and legal issues. To secure your spot in the course, enroll in Axess and attend the first class session.

Technical advances in brain imaging offer new insights into the neurological underpinnings of consciousness. Yet the new science of mind leaves many unanswered questions regarding philosophical, cultural and spiritual aspects of subjectivity. Who is the 'I' that makes art and who is the 'I' that experiences it? Drawing from a broad range of disciplines, this hybrid seminar/production course examines questions of subjective experience while paying particular attention to media and linguistic theory, cognitive psychology and theories of consciousness. The material is topical and the readings are guided. Of paramount importance is your commitment. Active participation in discussions, activities, self-directed research and creative production is required.

Appropriate for MFA candidates in Documentary Film or Art Practice or for advanced undergraduates working in visual art or time-based media, ¿Practice and Critique¿ is designed to enhance students' understanding of critical issues within their own work and the work of their peers. The artist and instructor will collaboratively direct feedback on work in progress. Feedback of finished work (or a completed component of a larger / thesis project) will follow a critique method developed by feminist artist and educator Mary Kelly in which the artist doesn't speak until the end of the session. We begin by reflecting on the affective, perceptual and phenomenological experiences engendered by the work. In doing so, we slow down our natural inclination to seek answers about ¿what the work (or film) means¿ by paying close attention to how it goes about producing meaning. In time, we proceed towards the denotative, referential and connotative meanings available to be read within the work. Finally we invite the artist to ask questions of the class and reflect upon their experience of the critique. Students will come away with a deeper and more nuanced understanding of how their work affects an audience. Optional one-on-one meetings with the instructor will provide opportunities for directed problem-solving and, depending on the goals and interests of students enrolled in the course, additional class time may be dedicated to screenings, field trips, studio visits or other activities.

This course will introduce you to contemporary art¿s engagement with political activism. This introduction will focus on the city as, at once, a field and target of activism¿a field of public appearance, artistic intervention, and political action, as well as a target of claims to residence, livelihood, recognition, justice, and collectivity. We will pose activist politics, artistic intervention, and urban space as mutually imbricated, each shaping the possibilities, programs, and histories of the other¿a perspective that offers insights into the spatiality, materiality, and visuality of political identity, agency, and action. Over the quarter, we will study some of the many artistic interventions that are encompassed by urban activism, from informal and everyday practices to protest, resistance, and occupation. Comparative case studies will be drawn from a global context. You will investigate these case studies through both research on urban activism and activist practice; the seminar will therefore invite you to explore the militant possibilities of research, the research possibilities of activism, and the implications of each for the production of art.

This course addresses the role of artists and art bureaucracies in the gentrification of minority neighborhoods, examining contested sites in New York, Oakland, East LA, and New Orleans. Students consider histories of underdevelopment and displacement, asking what these processes may reveal about greater contests over space, aesthetics, power, and knowledge. The course serves as an opportunity to engage urban cultural politics from the perspectives of critical race theory, queer studies, and feminist critique as well as through encounters with works by William Pope.L, Laura Aguilar, Paul Chan, and others.

This course will investigate the organization and shaping of public space from the perspective of story and narrative. The course will consider how authorized narratives feature in the built environment and in the social spaces and usage of the city and how unauthorized, sometimes contentious narratives lurk beneath the surface and persist on the "skin" of the city. It will investigate the role of artists and the arts in "mapping" or surfacing alternative stories, concepts and imaginations of how the city is or can be. Inspired by the writings of Michel DeCerteau and Italo Calvino, this class explores the role of narrative in the city and the imagination from the perspective of cultural memory, lived experience, usage of space and organization of the built infrastructure. It offers an alternative approach to thinking about cities, how they are formed and how they function. This class will utilize and combine active field research methods with creative practice. Locations for our field research and excursions will include areas around Stanford and the Bay Area. The class will function as a hybrid seminar and collaborative studio workspace supporting students interested in applying creative practices to field research to develop methods for materializing narratives in various forms of public performance or place-specific art. Students will develop research for projects tailored to a particular location of their choosing and will explore the idea of the 'hidden city' its histories and its communities.

Climate change is a defining factor of this generation, and yet while scientists unanimously warn of the inevitability of climate change, it remains a looming specter. This course builds an intersectional and structural understanding of climate change, and explores how art activates the intangibility of climate change, making it visible, visceral, and political. We will examine how the geographies of colonialism, racial capitalism, and migration produce climate change inequities, and how the climate justice movement addresses these through creative forms of resistance. We will undertake this exploration in three parts: first, by engaging with the cities of New Orleans and San Juan, to understand how climate catastrophe aggravates existing inequalities, and how residents creatively respond to disaster. From there we will consider how art serves as a form of politics, how it is taken up in social movements to provoke shifts in political consciousness. Lastly, we will engage directly with political art forms that address climate change, with a particular focus on those that centralize the experiences of populations most at risk of climate catastrophe. These art forms call attention to who bears the disproportionate burden of climatic shift, which geographies are most at risk, and how these creative interpretations envision climate futures. The course will culminate in a collective creative project in which students address climate change and climate futures from their own lived experiences.

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.

This course is designed to give students the opportunity to immerse themselves in the exciting and ever-changing TV and Film industries. Each week features Stanford alumni and industry professionals who will share information about their company and current role, insights about their career path, and a deep dive into trends facing the industry. Guest lecturers will have a range of experience and roles including writers, producers, cinematographers, and studio executives. Each class will also feature a hands-on project pulled from a typical workday. The course will be 6 weeks long, with the final session featuring a visit a local TV or Film company. Priority will be given to Sophomores, Juniors and Seniors interested in careers in TV and Film. Instructor Permission Required. Please fill out this form prior to enrolling in the course: https://goo.gl/forms/HwDDkPTrIPw52X7J2.

Things sit at the nexus of cross-cutting heterogeneous processes; tracing the entanglements of any prominent thing or class of things demands a transdisciplinary approach that recruits expertise from the natural sciences, social sciences and humanities. For example, carbon is a key factor in global warming for reasons that are as much socio-historical as bio-physical, and we could not begin to sketch the full significance of carbon without considering such diverse frames of reference. Our growing appreciation in the social sciences and humanities of the agency, polyvalence and catalytic role of things has given rise to The New Materialist and Post-Humanist movements, which in turn raise questions about intra-action and observational perspective that are echoed in the modern physical and life sciences. In this class we will explore these theoretical convergences in considering themes such as `things-in-themselves¿, networks and open systems, assemblages and entanglements. We will also examine specific examples such as oil, metal (guns), dams, viruses, electricity, mushrooms; each thing will be explored both in terms of its social and ethical entanglements and in terms of its material properties and affordances. There will also be hands-on encounters with objects in labs and a couple of local field trips. The key question throughout will be `why and how does matter matter in society today?¿

First in a three-quarter series required of all Capstone in the Arts participants (Capstone Track and Honors Track). Students initiate and develop interdisciplinary creative projects with the support of peers and mentors in a small, workshop format. Required enrollment in 200 A,B,C.

Second in a three-quarter series required of all Capstone in the Arts participants (Capstone Track and Honors Track). Students initiate and develop interdisciplinary creative projects with the support of peers and mentors in a small, workshop format. Required enrollment in 200 A,B,C.

Third in a three-quarter series required of all Capstone in the Arts participants (Capstone Track and Honors Track). Students initiate and develop interdisciplinary creative projects with the support of peers and mentors in a small, workshop format. Required enrollment in 200 A,B,C.

Workshop required for all Stanford/WMG Leadership Initiative fellows. Students initiate and develop capstone projects based on their interests in the music industry.

Technical advances in brain imaging offer new insights into the neurological underpinnings of consciousness. Yet the new science of mind leaves many unanswered questions regarding philosophical, cultural and spiritual aspects of subjectivity. Who is the 'I' that makes art and who is the 'I' that experiences it? Drawing from a broad range of disciplines, this hybrid seminar/production course examines questions of subjective experience while paying particular attention to media and linguistic theory, cognitive psychology and theories of consciousness. The material is topical and the readings are guided. Of paramount importance is your commitment. Active participation in discussions, activities, self-directed research and creative production is required.

Appropriate for MFA candidates in Documentary Film or Art Practice or for advanced undergraduates working in visual art or time-based media, ¿Practice and Critique¿ is designed to enhance students' understanding of critical issues within their own work and the work of their peers. The artist and instructor will collaboratively direct feedback on work in progress. Feedback of finished work (or a completed component of a larger / thesis project) will follow a critique method developed by feminist artist and educator Mary Kelly in which the artist doesn't speak until the end of the session. We begin by reflecting on the affective, perceptual and phenomenological experiences engendered by the work. In doing so, we slow down our natural inclination to seek answers about ¿what the work (or film) means¿ by paying close attention to how it goes about producing meaning. In time, we proceed towards the denotative, referential and connotative meanings available to be read within the work. Finally we invite the artist to ask questions of the class and reflect upon their experience of the critique. Students will come away with a deeper and more nuanced understanding of how their work affects an audience. Optional one-on-one meetings with the instructor will provide opportunities for directed problem-solving and, depending on the goals and interests of students enrolled in the course, additional class time may be dedicated to screenings, field trips, studio visits or other activities.

Things sit at the nexus of cross-cutting heterogeneous processes; tracing the entanglements of any prominent thing or class of things demands a transdisciplinary approach that recruits expertise from the natural sciences, social sciences and humanities. For example, carbon is a key factor in global warming for reasons that are as much socio-historical as bio-physical, and we could not begin to sketch the full significance of carbon without considering such diverse frames of reference. Our growing appreciation in the social sciences and humanities of the agency, polyvalence and catalytic role of things has given rise to The New Materialist and Post-Humanist movements, which in turn raise questions about intra-action and observational perspective that are echoed in the modern physical and life sciences. In this class we will explore these theoretical convergences in considering themes such as `things-in-themselves¿, networks and open systems, assemblages and entanglements. We will also examine specific examples such as oil, metal (guns), dams, viruses, electricity, mushrooms; each thing will be explored both in terms of its social and ethical entanglements and in terms of its material properties and affordances. There will also be hands-on encounters with objects in labs and a couple of local field trips. The key question throughout will be `why and how does matter matter in society today?¿