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151 - 160 of 894 results for: all courses

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, last offered Winter 2015 | 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: Splan, L. (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: not given this year, last offered Winter 2018 | 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: not given this year, last offered Spring 2018 | Units: 4 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter (ABCD/NP)

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 | Grading: Letter or Credit/No Credit

ASNAMST 32: Buddhism in America (CSRE 32H, RELIGST 32S)

This course examines the transmission, growth, and transformation of Buddhism in America from the nineteenth century to the present day. We will treat American Buddhism as a distinct regional variety of Buddhism with its own history, characteristics, and debates. Through select readings, films, discussions, and research, students will explore the main events and issues that have shaped the American encounter with Buddhism. We will learn the history of Buddhism in the United States, major traditions of American Buddhism, and contemporary issues and debates. Topics covered will include Orientalism, gender, race, science and meditation, and Buddhism in classrooms and prisons.
Terms: not given this year | Units: 3 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

ASNAMST 157: An Introduction to Asian American Literature: The Short Story

This course introduces students to Asian American literature and its sociohistorical contexts through close-reading a selection of short stories by writers from various ethnic groups.
Terms: not given this year, last offered Spring 2018 | Units: 3 | UG Reqs: WAY-A-II, WAY-ED | 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)

BIOHOPK 157H: Creative Writing & Science: The Artful Interpreter (BIOHOPK 257H, ENGLISH 157H)

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 begins with a field trip to Hopkins Marine Station, perched at the edge of the Pacific, where Stanford labs buzz with activity alongside barking seals and crashing waves. Here, in this spectacular setting, we learn to pay attention to our encounters with the natural world and translate sensory experience to the page. Students keep field journals to collect observations and cultivate a reflective practice. In-class writing experiments lead to original nonfiction combining personal narrative and scientific curiosity. Students workshop their projects, receiving supportive feedback from the group. You will develop a more patient and observant eye, improve your ability to articulate scientific concepts, and, hopefully, have a bit of fun along the way.
Terms: Win | Units: 5 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit

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: given next year, last offered Winter 2018 | Units: 3 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit
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