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1 - 10 of 35 results for: all courses

AA 119N: 3D Printed Aerospace Structures

The demand for rapid prototyping of lightweight, complex, and low-cost structures has led the aerospace industry to leverage three-dimensional (3D) printing as a manufacturing technology. For example, the manufacture of aircraft engine components, unmanned aerial vehicle (UAV) wings, CubeSat parts, and satellite sub-systems have recently been realized with 3D printing and other additive manufacturing techniques. In this freshman seminar, a survey of state-of-the-art 3D printing processes will be reviewed and the process-dependent properties of 3D-printed materials and structures will be analyzed in detail. In addition, the advantages and disadvantages of this manufacturing approach will be debated during class! To give students exposure to 3D printing systems in action, tours of actual 3D printing facilities on campus (Stanford's Product Realization Laboratory), as well as in Silicon Valley (e.g., Made in Space) will be conducted.
Terms: Spr | Units: 3 | UG Reqs: WAY-AQR
Instructors: Senesky, D. (PI)

ARCHLGY 54N: Archaeology in the Digital Age (CLASSICS 54N)

Like so many fields, archaeology is being transformed by new opportunities and challenges of technologies inconceivable only a generation ago: online tourist photographs are assisting replication of an arch destroyed by terrorists, detailed scans reveal how tools were manufactured and used 2000 years ago, and excavated remains historically texture lost worlds for games like Assassin¿s Creed. These artifacts and sites allow us to recreate human pasts in different ways, but only if we can make the most of every partial clue that archaeology uncovers. How do approaches like laser scanning and digital modeling help us maximize archaeological documentation and analysis? How will 3D visualization bring archaeological finds to the public in more innovative, immersive, and democratic ways than ever before? How can we put the past into the hands of a global community anywhere and at any time through interactive digital reconstructions and physical replicas? Can 4D approaches integrating time he more »
Like so many fields, archaeology is being transformed by new opportunities and challenges of technologies inconceivable only a generation ago: online tourist photographs are assisting replication of an arch destroyed by terrorists, detailed scans reveal how tools were manufactured and used 2000 years ago, and excavated remains historically texture lost worlds for games like Assassin¿s Creed. These artifacts and sites allow us to recreate human pasts in different ways, but only if we can make the most of every partial clue that archaeology uncovers. How do approaches like laser scanning and digital modeling help us maximize archaeological documentation and analysis? How will 3D visualization bring archaeological finds to the public in more innovative, immersive, and democratic ways than ever before? How can we put the past into the hands of a global community anywhere and at any time through interactive digital reconstructions and physical replicas? Can 4D approaches integrating time help us understand ancient social processes through digital approaches? What ethical questions of practice, ownership, and display arise as archaeology confronts each of these new opportunities? How do such developments force us to reexamine the complex ways in which technologies are changing our relationship with the human past? This seminar bridges the theoretical and the practical, allowing students to develop hands-on projects¿using 3D analysis of objects on campus¿that ask fundamental questions about how artifacts worked in the past, how they speak in the present, and how new digital tools can transform their voices in the future. Trips to collections on campus and in the area, as well as visits from diverse experts in the field and case studies from the instructor¿s own excavation (a Roman shipwreck of marble architectural materials) allow engagement with emerging technological approaches to the archaeological record.
Terms: Spr | Units: 3

ARTHIST 100N: The Artist in Ancient Greek Society (CLASSICS 18N)

Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. n nWhy did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man¿ than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel?n nPainted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vases from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Ceramic sets with scenes of Dionysian excess were reserved for elite symposia from which those who potted and painted more »
Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. n nWhy did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man¿ than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel?n nPainted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vases from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Ceramic sets with scenes of Dionysian excess were reserved for elite symposia from which those who potted and painted them were excluded.n nSculptors were less lowly but even those who carved the Parthenon were still regarded as "mechanics," with soft bodies and soft minds (Xenophon) "indifferent to higher things" (Plutarch).n nThe seminar addresses these issues. Students will read and discuss texts, write response papers and present slide lectures and gallery talks on aspects of the artist's profession.
Terms: Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Maxmin, J. (PI)

ASNAMST 31N: Behind the Big Drums: Exploring Taiko (MUSIC 31N)

Preference to Freshman. Since 1992 generations of Stanford students have heard, seen, and felt the power of taiko, big Japanese drums, at Admit Weekend, NSO, or at Baccalaureate. This seminar provides students with the opportunity to get behind the big drums, literally and academically. In fact, taiko is a relative newcomer to the American music scene. The contemporary ensemble drumming form, or kumidaiko, developed in Japan in the 1950s. The first North American taiko groups emerged from the Japanese American community shortly after and coincided with increased Asian American activism. In the intervening years, taiko has spread rapidly into other communities, most surprisingly to the UK, Europe, Australia, and South America. What drives the power of these drums? In this course, we explore the musical, cultural, historical, and political perspectives of taiko through readings and discussion, by playing the drums, workshopping with taiko masters, and meeting members of the taiko community. With North American taiko as the focal point, we learn about Japanese music and Japanese American history, and explore relations between performance, cultural expression, community, and identity.
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II

BIO 3N: Views of a Changing Sea: Literature & Science

The state of a changing world ocean, particularly in the eastern Pacific, will be examined through historical and contemporary fiction, non-fiction and scientific publications. Issues will include harvest and mariculture fisheries, land-sea interactions and oceanic climate change in both surface and deep waters.
Terms: Spr | Units: 3 | UG Reqs: GER: DB-NatSci
Instructors: Gilly, W. (PI)

BIO 8N: Human Origins

A survey of the anatomical and behavioral evidence for human evolution and of the increasingly important information from molecular genetics. Emphasis on the split between the human and chimpanzee lines 6-7 million years ago, the appearance of the australopiths by 4.1 million years ago, the emergence of the genus Homo about 2.5 million years ago, the spread of Homo from Africa 1.7-1.6 million years ago, the subsequent divergence of Homo into different species on different continents, and the expansion of fully modern humans (Homo sapiens) from Africa about 50,000 years ago to replace the Neanderthals and other non-modern Eurasians.
Terms: Spr | Units: 3 | UG Reqs: GER: DB-NatSci, WAY-SMA
Instructors: Klein, R. (PI)

BIO 35N: Climate change ecology: Is it too late?

This Introductory Seminar will explore the consequences of climate change on ecological communities, focusing on two emerging concepts: "disequilibrium," which emphasizes that it can take long time for communities to respond to climate change because of species interactions, and "historical contingency," which proposes that the order in which species invade and disappear as communities re-assemble in response to climate change will determine which species will persist. The seminar will involve lecture, discussion, writing, and visit to Jasper Ridge Biological Preserve.
Terms: Spr | Units: 3 | UG Reqs: WAY-SMA
Instructors: Fukami, T. (PI)

CLASSICS 18N: The Artist in Ancient Greek Society (ARTHIST 100N)

Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. n nWhy did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man¿ than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel?n nPainted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vases from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Ceramic sets with scenes of Dionysian excess were reserved for elite symposia from which those who potted and painted more »
Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. n nWhy did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man¿ than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel?n nPainted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vases from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Ceramic sets with scenes of Dionysian excess were reserved for elite symposia from which those who potted and painted them were excluded.n nSculptors were less lowly but even those who carved the Parthenon were still regarded as "mechanics," with soft bodies and soft minds (Xenophon) "indifferent to higher things" (Plutarch).n nThe seminar addresses these issues. Students will read and discuss texts, write response papers and present slide lectures and gallery talks on aspects of the artist's profession.
Terms: Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Maxmin, J. (PI)

CLASSICS 54N: Archaeology in the Digital Age (ARCHLGY 54N)

Like so many fields, archaeology is being transformed by new opportunities and challenges of technologies inconceivable only a generation ago: online tourist photographs are assisting replication of an arch destroyed by terrorists, detailed scans reveal how tools were manufactured and used 2000 years ago, and excavated remains historically texture lost worlds for games like Assassin¿s Creed. These artifacts and sites allow us to recreate human pasts in different ways, but only if we can make the most of every partial clue that archaeology uncovers. How do approaches like laser scanning and digital modeling help us maximize archaeological documentation and analysis? How will 3D visualization bring archaeological finds to the public in more innovative, immersive, and democratic ways than ever before? How can we put the past into the hands of a global community anywhere and at any time through interactive digital reconstructions and physical replicas? Can 4D approaches integrating time he more »
Like so many fields, archaeology is being transformed by new opportunities and challenges of technologies inconceivable only a generation ago: online tourist photographs are assisting replication of an arch destroyed by terrorists, detailed scans reveal how tools were manufactured and used 2000 years ago, and excavated remains historically texture lost worlds for games like Assassin¿s Creed. These artifacts and sites allow us to recreate human pasts in different ways, but only if we can make the most of every partial clue that archaeology uncovers. How do approaches like laser scanning and digital modeling help us maximize archaeological documentation and analysis? How will 3D visualization bring archaeological finds to the public in more innovative, immersive, and democratic ways than ever before? How can we put the past into the hands of a global community anywhere and at any time through interactive digital reconstructions and physical replicas? Can 4D approaches integrating time help us understand ancient social processes through digital approaches? What ethical questions of practice, ownership, and display arise as archaeology confronts each of these new opportunities? How do such developments force us to reexamine the complex ways in which technologies are changing our relationship with the human past? This seminar bridges the theoretical and the practical, allowing students to develop hands-on projects¿using 3D analysis of objects on campus¿that ask fundamental questions about how artifacts worked in the past, how they speak in the present, and how new digital tools can transform their voices in the future. Trips to collections on campus and in the area, as well as visits from diverse experts in the field and case studies from the instructor¿s own excavation (a Roman shipwreck of marble architectural materials) allow engagement with emerging technological approaches to the archaeological record.
Terms: Spr | Units: 3

COMPLIT 10N: Shakespeare and Performance in a Global Context

Preference to freshmen. The problem of performance including the performance of gender through the plays of Shakespeare. In-class performances by students of scenes from plays. The history of theatrical performance. Sources include filmed versions of plays, and readings on the history of gender, gender performance, and transvestite theater. Note: To be eligible for WAYS credit, you must take the course for a Letter Grade.
Terms: Spr | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II
Instructors: Parker, P. (PI)
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