Humanities and Sciences

Andy Warhol was not only a painter, publisher, and socialite, but also a prolific filmmaker. After his death, the Warhol estate counted approximately 600 films of various lengths and in various stages of completion, all produced between 1963 and 1968. This course focuses on a sample of films directed by Warhol, including a few well known titles and many others that have only recently been preserved and have never been shown before at Art Center or in Southern California. Among the rarities are Mrs. Warhol, the only film starring Andy Warhol's mother, Eating Too Fast, the sound remake of Blow Job, and Since, Warhol's film about the assassination of John F. Kennedy. The course reader includes important writings from the 1960s to the present not only about Warhol's films, but also about the times in which he made them. Each class meeting will begin with a screening of a 16mm print of the week's film, followed by a discussion. Because none of these films can be seen on DVD or online, attendance at screenings is mandatory. The course's main requirement is a 12-page term paper, due at the last class meeting.

Course number: HNAR-226
Prerequisite: n/a

Each section will have a unique description

Course number: SAP-802
Prerequisite: n/a

This introductory queer studies course explores multiple ways of defining the broad term "queer" and the sexual and cultural practices that exceed what is often called "normal." As the LGBTQ acronym continues to expand (+IAP, etc.), we will ask, how and why did human sexuality become an object of study? And why do we frequently use theoretical language to talk about sexuality and gender? To address these questions, we will examine a cross-section of the many academic discourses-spanning the fields of history, critical theory, psychology and psychoanalysis, critical ethnic studies, literary and cultural studies, sociology, and sexology-that have enabled the formation of queer studies as an area of inquiry. At the same time, we will explore queer studies' roots in street protest, desire and "experience," and popular representation. Necessarily, our approach to the field will be intersectional and transdisciplinary: we will take for granted the idea that sexuality and gender cannot be discussed apart from race, class, nationality, religious ideology, and other identifications. The course thus offers a constellated history, i.e. one that is not always linear, in an effort to illuminate the various attempts that have been made to capture and classify the queer experience globally, as well as in the Western contexts with which many of us are so familiar.

Course number: HSOC-213
Prerequisite: n/a

Sound. Sight. Touch. Smell. Taste. These are the means we use to perceive and understand our world. How can we push the limits of our senses to gain knowledge and advance ourselves as human beings? What other modes of perception are out there? As humans, the amount of information we can take in with our physiological sensors (our eyes, ears, nose, tongue, and skin) is relatively limited. For example, dogs can travel through time with their nose, using smell to pick up past information and predict disease long before we can. Bats can use sound as sight by echolocation. Dragonflies can see perfectly in low light and over 5 times as fast. Advances in science and technology have allowed us to move well beyond our bodily limitations to gain a greater understanding of the material world from the atomic scale to the universal scale. How do these sense mechanisms work? What perceptual devices have we come up with to push each of these senses to their limits? How does this knowledge transform human progress? Can we gain a higher state of consciousness? What happens when our senses get mixed up? How do we make up for an absence of sense? This class will use lectures, discussion, and hands-on experimental work to develop a holistic scientific understanding of how the senses work and advanced sensing technology (i.e. microscopes, transducers, etc) with no need for prior high-level scientific knowledge or mathematics.

Course number: HSCI-224
Prerequisite: n/a

Pseudo Course Block

Course number: HHUM-000.PC6
Prerequisite: n/a

Pseudo Course Block

Course number: HHUM-000.PC5
Prerequisite: n/a

Do the homemade signs stapled to telephone poles qualify as graphic design? Do cut-and-paste ransom notes qualify as typography? Why should graphic designers study hand-painted lettering? This 6-week intensive course will challenge students to critically analyze works not typically explored in graphic design history. The course will consist of two primary components: 1) Historical analysis of vernacular typography and lettering across the globe, and 2) primary research on vernacular typography and lettering in Los Angeles. Multiple class meetings will consist of instructor-led visits to off-campus sites, including various Los Angeles neighborhoods, museums/galleries, archives, and other relevant locations. Assignments include one short midterm paper and a final research report and presentation.

Course number: HHIS-241
Prerequisite: n/a

Do the homemade signs stapled to telephone poles qualify as graphic design? Do cut-and-paste ransom notes qualify as typography? Why should graphic designers study hand-painted lettering? This 6-week intensive course will challenge students to critically analyze works not typically explored in graphic design history. The course will consist of two primary components: 1) Historical analysis of vernacular typography and lettering across the globe, and 2) primary research on vernacular typography and lettering in Los Angeles. Multiple class meetings will consist of instructor-led visits to off-campus sites, including various Los Angeles neighborhoods, museums/galleries, archives, and other relevant locations. Assignments include one short midterm paper and a final research report and presentation.

Course number: HSOC-241
Prerequisite: n/a

This course explores key topics in AI for artists and designers. The three-hour seminar will provide an introductory overview of the theories, histories, and debates at the intersection of art and artificial intelligence. We will discuss emerging technologies that include image generators (DALL-E, Midjourney) and large language models (ChatGPT, Bard), as well as prior computational tools and their creative uses. Topics covered will include issues of authorship, multispecies collaboration, algorithmic bias, data ethics and politics, and beyond. These topics will be paired with discussion of works by artists and designers experimenting with AI. The core objective of the course will be to develop a critical understanding of the kinds of artistic futures that might emerge through and alongside artificial intelligences. Creative assignments and responses to the course material will be encouraged, in the medium of each students' choice.

Course number: HSOC-504
Prerequisite: n/a

This course explores key topics in AI for artists and designers. The three-hour seminar will provide an introductory overview of the theories, histories, and debates at the intersection of art and artificial intelligence. We will discuss emerging technologies that include image generators (DALL-E, Midjourney) and large language models (ChatGPT, Bard), as well as prior computational tools and their creative uses. Topics covered will include issues of authorship, multispecies collaboration, algorithmic bias, data ethics and politics, and beyond. These topics will be paired with discussion of works by artists and designers experimenting with AI. The core objective of the course will be to develop a critical understanding of the kinds of artistic futures that might emerge through and alongside artificial intelligences. Creative assignments and responses to the course material will be encouraged, in the medium of each students' choice.

Course number: HSOC-404
Prerequisite: n/a

Psuedo course block

Course number: HCRT-ACRP.PC
Prerequisite: n/a

Write, develop, create, and finish a self-directed, entertainment-based project. Graphic novels, sock puppets, CG, and everything or anything in-between. An advanced workshop that offers the structure, support, and rigor it takes to complete an ambitious making/writing project. To earn the three Humanities units for this course, students will: Develop a writing and planning process for large-scale projects; write several times every week; write well-composed texts that 1) meet the drafting markers we collectively establish, 2) observe, employ, and experiment with the conventions of the proposed genre and 3) function within the form and context of the proposed finished work; critically read student and published texts; actively participate in constructive discussion of writing during every class. This is a co-requisite class to TDS Advanced Entertainment Project Studio. Concurrent enrollment requirement for 3 credits studio TDS and 3 credits Humanities/Human credits.

Course number: HNAR-402
Prerequisite: n/a

This course explores the connection between narrative and the visual experience in the game design realm. Its goal is to provide students an in-depth framework for how to approach crafting a narrative in this interactive medium, along with an understanding of how game design mechanics are connected with developing player agency, and how visuals support these elements. Additional topics will include how the narrative experience transcends text; sound design; visual themes; animation choices; and core game design decisions. Students will craft five character studies, create copy for marketing a game, generate a character relation chart, write a list of rewards and punishments to motivate players in a game, keep a game diary of their video game experiences throughout the course, and combine these elements into an original full game design document. Students will utilize a combination of hands-on-gameplay, lecture and discussion, in-class exercises, and creative writing workshops to foster a greater understanding of the connection between narrative and visual elements with the process of game development. The students will finish the term with a portfolio of copy that connects the various narrative components of the interactive medium, including all of the elements mentioned above.

Course number: HNAR-371
Prerequisite: n/a

This course will introduce students to advanced research methods in academic and design contexts. Building on previous research coursework, students will advance their competency in developing research questions, identifying sources, and gathering and analyzing data. They will also learn techniques for articulating insights and opportunities for creative projects. Students will design and conduct independent research projects as we explore together the history, methodologies, and methods of research practice including qualitative, ethnographic, and participatory approaches. Research ethics and decolonizing perspectives will be examined through texts and discussion of student experiences. In their final projects, students will develop a research presentation culminating in a creative brief, which may include speculative visualizations or prototypes as time allows.

Course number: HSOC-367
Prerequisite: n/a

This is an advanced screenwriting workshop that provides students the dedicated time, support from instructor and student and structure needed to move a story from concept to the written script form. Each student is responsible for making consistent progress on a script project they commit to on the first day of class. Preferably, this script project is one that they have begun in HNAR-337 Screenwriting and already is in a solid 3-Act Structure format, with well-developed characters. Additionally, each student is expected to contribute to supporting their fellow classmates' goals through reading and well-considered critique. A collaborative project between enrolled students is also acceptable, as long as the writing is divided equitably among teammates. Pre-req: HNAR-337 Screenwriting, or TDS-319 The Storytelling Project.

Course number: HNAR-437
Prerequisite: n/a

This prototyping-oriented class leads students through numerous open-ended, small-to-mid-scale design briefs in the Raspberry Pi 3 development environment. Students will explore environmentally deployed embedded media, mapping and surveillance techniques, as well as basic interaction strategies as a means to establish computer literacy in an always-connected, internet-of-things context. Simultaneously, students will learn strategies for seeing a project through from ideation to completion. Regular critiques will provide an opportunity for students to share their research and prototypes with their colleagues as well as receive direct feedback from the instructor.

Course number: HSCI-215
Prerequisite: n/a

Alice in Wonderland counts six impossible things before breakfast; can you count six "impossible materials"? To do that, we first need to cover a few basics. This course aims to provide students with the necessary foundation and primary tools for their art and design practices in relation to materials science and engineering. Starting from the fundamentals of scientific practice and its relation to art and design, we will learn about the building blocks of animate and inanimate worlds, how materials are produced, classified, characterized and used; constantly relating those to their impact on society's past, present and future. After covering key concepts such as materials ecology, sustainability, bio-mimicking and nanotechnology as well as case studies such as smart screens, comet dust catchers, self-repairing clothes, computer chips made of DNA, or heavy-duty stickers inspired by gecko feet, we will ideate on how to make the impossible -such as flexible glass, transparent metals, or plastics stronger than concrete- possible through novel material design approaches. We will end with reflections on the future of materials science and technology. Apart from regular lectures, we will implement use of online tools, laboratory practices, and/or field trips where the pandemic allows. The assessment will be done via content-based home-work assignments and a final project idea presentation. High school-level proficiency on arithmetic operations is required. Basic knowledge in chemistry or physics is helpful but not necessary.?

Course number: HSCI-306
Prerequisite: n/a

1) In the course of the term each student will develop his or her definition of propaganda; 2) They will develop a broad familiarity with the techniques of persuasion, ""perception management"" and information manipulation & control and they will become familiar with the variety of ways in which the principles and practices of contemporary advertising and Public Relations intersect and overlap with the practices of propaganda; 3) They will be introduced to the ways in which the imagery of contemporary advertising establishes an environment for the dissemination of propaganda; 4) They will learn something of the ways in which the economics of advertising influences the flow of information and the practices of censorship; 5) They will be introduced to examples of ""Alternative Media,"" and alternative sources of information; and, 6) They will learn the meaning of ""full spectrum"" information.

Course number: HSOC-270
Prerequisite: n/a

This course provides a journey through the history of advertising from the perspective of a creative. We'll examine where, how and when creativity played a role in advertising and how popular culture and events of the country helped shape that work. We'll also look at advertising in the modern day and its role in bringing social inequality conversation to the forefront and explore the topic of ethics in the field.

Course number: HPRO-220
Prerequisite: n/a

What does it mean for design to be beautiful, or to be considered "good"? How do aesthetics fit into design for social change? While aesthetics are often associated with ideas of style or beauty, the study of aesthetics has expanded to include analyzing many forms of sensory experience in relation to values, taste, and power. The Aesthetics of Power will explore the social forces shaping design knowledge and practice while examining how knowledge and resources reproduce cultural, social, and ecological imbalances. This studio course will challenge students to apply what they learn in order to build more sophisticated design and research methods. This course is eligible for the Designmatters Minor in Social Innovation

Course number: TDS-442
Prerequisite: n/a

At a hinge point in American history, the 1960s and 70s brought about radical change and the emergence of social movements like opposition to the Vietnam War, the civil rights movement, feminism, gay liberation and pop counterculture. Movies not only responded to the rebellious ideas of the moment but also helped shape them. Students will watch a breadth and depth of films by Hollywood and indie filmmakers of the era, including Charles Burnett, Francis Ford Coppola and Shirley Clarke. They will develop analytical and critical thinking skills by examining story, cinematography, mise-en-scene, historical context and relevance. They will connect how the rage and social currents of that time ripple through the decades and unify young people today. The goal being, you'll learn to watch films more carefully, communicate ideas effectively and develop your arguments persuasively.

Course number: HHIS-232A
Prerequisite: n/a

This course focuses on student experiences with various forms of street art, exploring the overlaps between them and the professional worlds of art, design, and advertising. It coincides with a large, school-wide exhibition about street art, and the class will visit sites both on and off campus.

Course number: HSOC-251
Prerequisite: n/a

Is the media liberal? Are all politicians in the pockets of corporations? Is dissent unpatriotic? Is the U.S. a nation to be loved or feared? Is it a democracy? An empire? Both? How are we, as citizens (of any country), to find our way through the rhetoric of the left, the right, the middle? How can we make sense out of the increasing flood of political and cultural information that bursts from our computers, televisions, radios, newspapers, and movies? Whom should we believe? This course seeks to provide the tools to help make sense of it all.

Course number: HSOC-301
Prerequisite: n/a

This is a class for anyone who wants to know what the hell is going on. It's going to be a week by week examination of the work of Independent Journalists, Commentators, and Organizations whose efforts, insights and information are essential to finding your way to clarity and understanding of issues and events, here and everywhere else, sometimes urgent, sometimes absurd, and often unknown, ignored or misrepresented by the Corporate Mainstream Media and the politicized press. The Instructor will provide weekly reading and examples of techniques of misinformation, insinuation and manipulative innuendo. There will be a research paper, the first draft of which will be a preparatory midterm and the final draft will be the final paper and determine the final grade.

Course number: HSOC-301A
Prerequisite: n/a

This course will examine significant examples of the sci-fi film genre from its early development to the present. Social, economic, aesthetic and technological filmic intentions will be considered as well as their literature and historical counterparts. The course will consider various inferences of utopias and dystopias, ecological forecasts and concerns, gadgetry and technology mystification and demystification, aliens and such varieties of otherness as well as when the genre flows into other film categories such as horror, romance and comedy. The course will be defined with lectures, discussions, screenings, readings, and research/writing assignments; allowing students to analyze the distinctive traits of the sci-fi genre, its successes, its spoofs as well as it cascades of clichés. This course introduces students to the essentials of film analysis, cinematic formal elements, genre and narrative structure and supports students to develop skills to recognize, analyze, and describe the complications of our vast film record.

Course number: HNAR-313A
Prerequisite: n/a

Caltech course via cross-enrollment program This course examines the causes of and solutions for conflict and violence: Why do wars occur and how do we stop them? We cover topics such as terrorism, ethnic violence, civil wars, the Israeli-Palestinian conflict, repression, revolutions, and inter-state wars. We study these phenomena using the rational choice framework and modern tools in data analysis. The goals of the class are to explain conflicts and their terminations as outcomes of strategic decision-making and to understand the empirical strengths and weakness of current explanations.

Course number: CAL-125
Prerequisite: n/a

Visual perception includes both observation and interpretation, and ranges from the mere detection of objects being present in the visual field to the construction of reality and the assessment of meaning. In this course we will study the anatomical structures involved in seeing (the eye and the visual cortex), relating them to both "normal" and dysfunctional seeing, including characteristics of the visual field, the perception of color, brightness, and depth, and the recognition of faces. The psychological processes relevant in visual perception include attention and selection, seeing emotional content, and the relation between seeing and thinking. We will deal with the neurological equivalent of these processes, and study both normal and abnormal perception of the environment and the body. The objective is to gain an understanding of seeing-as-action, as a neuropsychological construction, and to become more aware of the characteristics of the experiential phenomena of seeing.

Course number: HSCI-230
Prerequisite: n/a

Course number: SAP-801
Prerequisite: n/a

Course number: SAP-809
Prerequisite: n/a

In this course, students will learn how the study of psychology can provide answers to real world problems.

Course number: HSOC-120
Prerequisite: n/a

Art, Tech and Science have long been in collaboration, engaged in epic challenges to push the boundaries of truth and understanding about ourselves and our world. From Leonardo Da Vinci and Buckminster Fuller to David Hockney and Stelarc, history has often recognized the lone researcher / inventor who diverges from the tradition and the norm, yet only today do we learn of the collaborative team effort necessary to discover and invent new materials, products, new technologies and worlds. With the advent of the digital age, 3-d printing, wearable tech and VR science, collaborative partnerships are forming daily between artists, designers, technologists and scientists, changing health, education, lifestyle and entertainment as we know it. In this course, we will explore ground - breaking designs, discover the history behind unique materials and prototype products, resulting from art, tech and science research. We will lead our conversation from joint histories, theories and conferences of art, design, tech and science. We will examine differences in methods and funding, yet focus deep attention on the ideas and inventions produced by 20th and 21st century arts, tech and science collaborations from Tatlin's constructivist tower and Bloom the computational game to Muse Headsets for wearable tech. Special attention will be paid to light and space inventions that have profoundly influenced the making of art and science research.

Course number: HCRT-210
Prerequisite: n/a

How are we to think about culture's relationship to our current planetary climate crisis? This course will examine the history of late 20th and early 21st century intersections between art and environment with an eye toward the question of how culture might help forge solutions to our current peril. Topics include intersectional environmentalism, ecofeminism, frontier masculinity, witchcraft, Land Art, site-specificity, the Anthropocene, ruins, science fiction and other speculative futures, among others.

Course number: HHIS-206
Prerequisite: n/a

This course is an examination of films and documentaries that attempt to depict and reveal painting, sculpture and other forms of art and architecture. The collection of films the course will study will be a nonlinear jaunt through art and architecture histories revealing the predicaments that face the contemporary art and architecture institutional models that press forth to consider their fields in a historical 'blur'; recognizing consciously and unconsciously the challenge of historical fragmentation. The course will explore the trials film faces depicting art and architecture; questioning what stereotypes may emerge or what beneficial information can be had. What do we learn about art and architecture from seeing it on film and what do we miss? Or, when and how are film chronicles, documents and features helping us understand the complexity of these fields or when and how do they misguide the viewer? The arrangements of films curated for the course vary from new world architecture to, realizing essential art and architecture movements, museum exhibitions, then to venture to a wide and diverse variety of modern and contemporary artists. The course will also explore films made by artists or architects who want to be in control of their work avoiding art clichés and stereotypes often circulated by a general audience and film world. The zoom remote course will be presented through lectures, screenings by stream, readings, discussions, and research writing assignments. This course provides that students will analyze the distinctive traits of film and the information it is strategizing or not, to communicate about these fields. This course introduces students to the necessities of film analysis and helps students develop the skills to recognize, analyze, and describe film and the art and architecture themes investigated by the course.

Course number: HNAR-227
Prerequisite: n/a

This course aims to provide students with an overview of key theoretical concepts from the 19th, 20th and 21st centuries, and apply those concepts in a rigorous, generative way to artistic production. Special attention will be paid to history of critical theory-as-liberation, with an emphasis on post-colonial, feminist, and Marxist thought.

Course number: HCRT-307
Prerequisite: n/a

Increasingly, designers use research as a critical component of the design process to establish a strong problem foundation, to discover fresh, uncharted opportunities, and to test their design hypotheses. This course provides you with a toolbox of techniques and methods for design-centric research as an integral component of the design process that can be used throughout your career. Beginning with a short survey of how research has been used historically, the course quickly moves to hands-on projects that explore a variety of research methods and processes: from media surveys to interview techniques and the ethical considerations required with their use. The research methods explored in this class expose students to both non-discipline-specific and discipline-specific techniques, balancing the research process between form-making, community insight, and critical reflection.

Course number: HSOC-100
Prerequisite: n/a

This course will introduce students to the practice of Design Research with a focus on the history, methodologies, methods, and tools utilized in professional practice. We will examine how research can provide a compelling logic for design, and employ a range of research activities including ethnographic interviews, observations, and generative approaches. Students will learn how to plan and conduct an original design research project, analyze the information gathered, and articulate opportunities for creative projects. The ethical considerations of social research practice will be emphasized and examined through texts and student experiences. Working in small groups, students will participate in reflective, inquiry-based critique models contributing to a collaborative, iterative educational environment. Students will communicate what they learn through weekly presentations, reflective writing, and a final presentation. The final creative brief will communicate the research process, key insights and opportunities, recommendations for design, and speculative visualizations or prototypes.

Course number: HSOC-101
Prerequisite: n/a

As fine artists, we know that concepts, materials, and processes combine to make a work, but how can we nurture our innate curiosity to feed our work more deeply? Get brave with research! In this class we empower your creative process to reach heightened levels of curiosity leading to a richer artistic vision. We will map research strategies to find undiscovered inspiration within areas you are already passionate about. You will chart discoveries and deal with inevitable failures as you expand your process of inquiry to make new work. Faculty will bring unique insights from social science research and visual art practice to help you embrace brave choices in unknown territory. We will study artists' research processes in a variety of areas and mediums and use scientific inquiry, literature, social science methodologies, photography, prototyping, and material applications to explore new avenues in your practice. This class is a 3-hour project-based seminar with weekly assignments including writing, artwork, audio-visual presentations, and field trips.

Course number: HSOC-102
Prerequisite: n/a

Psuedo course block

Course number: HSOC-100.PC
Prerequisite: n/a

This class grapples with the hardest and deepest of all questions: Is life a matter of fate? Is knowledge power? Is there a soul? Is existence absurd? Is beauty in the eye of the beholder? Does morality even exist? We will read selections from historical philosophical texts and address intellectual watersheds that haunt the modern mind, from "Plato's Cave" in ancient Greece to Michel Foucault's "Madness and Civilization." Above all, we will learn an Art of Thinking, in which there are no answers, but there aremoments of insight and clarity. Students will be expected to read difficult material, write opinionated papers, and contemplate ideas that can profoundly alter our lives.

Course number: HCRT-300
Prerequisite: n/a

ArtCenter Berlin is a trans-disciplinary topic-based project that provides ACCD students a unique cultural, political, and historical lens into Europe, Germany, and Berlin, in particular. Context is critical, the zeitgeist of the Berlin location provides important grounding for investigation and exploring new ways of thinking. The project tests ArtCenter student's conceptual abilities in unfamiliar surroundings while applying their technical tool kit to create relevant, real-world solutions.

Course number: HSAP-884B
Prerequisite: n/a

ArtCenter Berlin is a trans-disciplinary topic-based project that provides ACCD students a unique cultural, political, and historical lens into Europe, Germany, and Berlin, in particular. Context is critical, the zeitgeist of the Berlin location provides important grounding for investigation and exploring new ways of thinking. The project tests ArtCenter student's conceptual abilities in unfamiliar surroundings while applying their technical tool kit to create relevant, real-world solutions.

Course number: HSAP-884A
Prerequisite: n/a

ArtCenter Berlin Research Project Topic is a trans-disciplinary topic-based project that provides ACCD students a unique cultural, political, and historical lens into Europe, Germany, and Berlin, in particular. Context is critical, the zeitgeist of the Berlin location provides important grounding for investigation and exploring new ways of thinking. The project tests ArtCenter student's conceptual abilities in unfamiliar surroundings while applying their technical tool kit to create relevant, real-world solutions.

Course number: HSAP-884S
Prerequisite: n/a

Contemporary Questions examines a current topic or theme of critical importance that is affecting life, driving support - or dissent - in Berlin, Germany or the E.U. This class will expand student's view of the world through the lens of EU thinking. How does Berlin's complex past, influence decisions it must make for the future? Understanding the complex relationships within the tightly knit but culturally and economically diverse European Union will be equally as important as addressing diversity in the local demographics inside Germany. We might address issues around immigration and refugees, cultural integration and tolerance, climate change and energy consumption - or how colonialism is being addressed in the EU. Students will take different positions to grasp local, national or continental EU points of view and brainstorm scenarios to offer solutions. Course Learning Outcomes Contemporary Questions will: - promote cross-disciplinary discourse and improve oral skills around collective problem-solving. - connect students with relevant contemporary issues that drive the cultural, political and economic landscape from Berlin (local) to the EU (continental) - examine the complex relationship between communities: within Berlin or between EU countries. - highlight accountability as a Global Citizen - identifying critical local issues within a global context. - utilize critical thinking and strategy skills in non-design disciplines. (economic, political, cultural)

Course number: HSAP-884D
Prerequisite: n/a

Berlin provides a deeper understanding of German culture, the history of the country and the mentality of its people. Being based in the capital of Germany, a strong emphasis is put on the unique situation and position of Berlin in the past, present and in the future. In order to take full advantage of the fact the we are "vor Ort", lectures are accompanied by extensive field trips. These include museums, exhibitions and architectural landmarks but - as important - students will experience the rhythm of the city and various urban lifestyles of neighborhoods. Traveling, being outside the studio is an essential part of the course. Open your eyes, your mind, notice the small details, be aware, discover and discuss. Students will always have a camera, pen and paper to sketch and take notes. Rather than memorizing dates, numbers and historical facts, this course is as holistic and visual as possible. Movies, museums, architecture - a sense of 'place' will help students learn about Berlin and Germany but - even more important - to fully immerse and experience your new town.

Course number: HSAP-884C
Prerequisite: n/a

How do we authenticate an animation cel, tell ancient artifacts from modern artifice, and unmask art forgers? This course explores recent trends in the world of art crime and the growing use of materials science and forensic analysis to authenticate, preserve, and repatriate cultural heritage. The age and makeup of creative works can be determined using carbon dating, multispectral imaging, and other scientific tools. In this hands-on course, participants will gain an understanding of artists' materials, apply scientific techniques to see otherwise invisible clues to origin and alteration, and get an insider's look at the hidden histories of artifacts and the meaning of authenticity.

Course number: HSCI-207A
Prerequisite: n/a

Through examining representations of Chinese, Japanese, and Koreans in visual media (film, fashion, art, and advertising), this course will explore constructions of race and gender as seen through Western eyes--which were stereotyped and racist during the 19th and early 20th century--and how and why that changed in the latter part of the 20th century.

Course number: HCRT-301
Prerequisite: n/a

This course explores media representations of Asian Americans, with a focus on motion pictures, from the early twentieth century to the contemporary period. Starting with the silent film era, we will examine Hollywood portrayals of Asians and Asian Americans and consider how these depictions have changed-and persisted-over time. We will also look at the participation of Asian American performers and filmmakers in both mainstream and independent productions, including the emergence of an Asian American cinema movement and the creation of new or alternative representations of and by Asian Americans. Throughout the course, we will analyze the intersections of race, ethnicity, gender, and class in films while situating these works within their relevant social and political contexts.

Course number: HHIS-316
Prerequisite: n/a

Automation" is a key term of the present and everyday there are more and more stories about AI art, self-driving cars, and, most prominently, different types of automated job loss. In these especially, automation is treated as both an inevitable outcome of technological development and a radical paradigm shift in the organization of the economy and society. However, automation is far from a new concern and modernity has been defined by the cyclic return of the automation discourse. In the course we will approach automation in a capacious way conceptually and artistically, and we will look at key moments in the history of automation from the nineteenth century to the present. In doing so, the class will think about how automation is connected to race, gender, sexuality, class, labor, (neo)colonialism, the planet, and what it means to be human, alongside technology. Above all, we will look at how theorists and artists working in multiple mediums have engaged with these development, and students will also reflect on their own relationship to an increasingly automated world.

Course number: HHIS-382
Prerequisite: n/a

This course covers the principles of engineering that guide the development of automobile design and manufacture, including automobile functionality and an overview of the demands placed on the design process.

Course number: HSCI-200
Prerequisite: n/a

This course focuses on the experience of a transportation designer after they begin their career. It will analyze different corporate models and look at how design fits into the overall company's business strategy as it partners with engineering, marketing, product planning and other key areas of the company. Industry executives will regularly participate as subject matter experts to give additional perspective.

Course number: HBUS-302
Prerequisite: n/a

In one course it is not possible to show the entirety of avant-garde film history, but only a slender chunk of it, like a core sample taken from a tree commonly thought to be dead. Unfortunately, history (in the guise of the market economy's triumph) has not been very kind to the avant-garde canon: films have fallen out of distribution; texts have gone out of print; whole careers have disappeared. In spite of these depredations, idealists still believe that alternative film practices have not yet exhausted themselves. Avant-Garde Film's screenings and readings may even suggest possible strategies for an independent cinema that conceives of itself as more than just a fawning poor relation of Hollywood.

Course number: HNAR-331
Prerequisite: n/a

Avant-Garde Film 2 continues the film screenings and readings of Avant-Garde Film 1, however the first is not a prerequisite for this course. In one course it is not possible to show the entirety of avant-garde film history, but only a slender chunk of it, like a core sample taken from a tree commonly thought to be dead. Unfortunately, history (in the guise of the market economy's triumph) has not been very kind to the avant-garde canon: films have fallen out of distribution; texts have gone out of print; whole careers have disappeared. In spite of these depredations, idealists still believe that alternative film practices have not yet exhausted themselves. Avant-Garde Film's screenings and readings may even suggest possible strategies for an independent cinema that conceives of itself as more than just a fawning poor relation of Hollywood. Attendance is particularly important in this class, as many of the films are not available on DVD.

Course number: HNAR-335
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-AY020
Prerequisite: n/a

This course is a case study of one school, which is still emblematic for a new approach to the concepts of art, design, and technologies. Since the Bauhaus was the center of new ideas and practices in teaching, architecture, design, and the social position of the visual arts, studying its detailed history leads students to the critical understanding of the current position of these issues. The Bauhaus's historical role reveals the exposure of art and design to the politics within and without the walls of the school. A survey of the New Bauhaus in Chicago illuminates the particular American aspects of the Bauhaus, and its afterlife in the U.S.

Course number: HHIS-294
Prerequisite: n/a

An advanced argument-writing class in which students will read, study, and generate persuasive writing in "non-traditional" forms or with unexpected rhetorical strategies, leaning especially toward image and page/publication design as part of argumentation. The class will also: build and exercise radical visual literacy; require responsible, generative research; posit theory as making; introduce students to a range of topics, and ways thoughtful makers engage with the world; and inspire reevaluation of assumptions about persuasive writing-what it is and what it can be.

Course number: HNAR-366
Prerequisite: n/a

Students are challenged to look at the next incarnation of the Co-Working trend, examining possible hybrids that engage all of our senses and offer opportunities to redefine the future of work. They will look at the psychological and social aspects of Berliners more entrepreneurial attitude ti different kinds of work - and how to construct meaningful physical environments around them to deliver the most effective impact.

Course number: HSOC-807A
Prerequisite: n/a

With one of the most vibrant cultures in the world, Berlin is a highly multicultural city with a rich and complex history. In this course, we will examine how notions of German identity have been shaped by that history and investigate its ramifications in contemporary art. The travel portion of the Berlin trip will visit museums, galleries and historical sites, as well as allow students to meet artists and curators and attend events. This class is composed of a pre-trip meetings (approximately 7 three-hour classes) that will include lectures, readings, screenings; and then an immersive 12-day study-away experience in Berlin during the Spring/Summer break.

Course number: HSAP-802A
Prerequisite: n/a

Bio-inspired Design is a new approach to problem solving that uses biological systems as inspiration for non-conventional solutions to the design and engineering issues currently facing the human race. Two different but complementary paths (problem-driven, biology-driven) will be introduced as methods to explore natural systems, using examples from organisms with unconventional structures, unusual mechanisms, or clever sensing and processing methods. By using scientific analysis of the mechanisms which underpin a living system's success, bio-inspired design moves from a mere copying of nature to contributing responsible, sustainable and innovative solutions to human needs. This general science course is open to all majors, especially those in the Materials Science minor, Transportation Design, Product Design, and Interactive Design (including Wearables).

Course number: HSCI-223A
Prerequisite: n/a

Biology is promised to be the technology of the 21st century, where breakthroughs in science and engineering will offer longer, healthier lives and cleaner, more sustainable technologies. This course focuses on the history and potential futures of biomedicine and biotechnology, with particular emphasis on the social and political contexts of the science. Case studies will explore topics in evolution and ecology, microscopy and cellular imaging, DNA sequencing and genomics, sex, gender, and reproduction, genetic engineering and agriculture, tissue engineering, and neuroscience. Course material will span from reading of scientific texts to analysis of work by bioartists critically engaging with the contemporary biosciences. The course is intended as a broad introduction to issues in biology and bioart; previous coursework in biology is not required.

Course number: HSCI-223
Prerequisite: n/a

A society in which one's retina can be used as a key, where remote sensing technologies track our daily routines, and where hygiene and policing have reshaped the public sphere - this is what Michel Foucault has called the "biopolitics" of modern life. This distinct emphasis on the body and biological life can be found in every domain, from the discipline of the individual to the governance of populations, urban space, and the state. In this class, we discuss Foucault's theory in light of our contemporary situation, drawing on political philosophy, art, film, and our own experiences. Following on from Foucault, we will also look at how other writers and theorists have interpreted and adapted these ideas to look at questions of political activism, immigration and human rights, as well as gender and sexual politics. Seminar discussions and essays will provide students with an opportunity to critically examine these theories and develop their own understanding within the discourse.

Course number: HCRT-216
Prerequisite: n/a

A society in which one's retina can be used as a key, where remote sensing technologies track our daily routines, and where hygiene and policing have reshaped the public sphere - this is what Michel Foucault has called the "biopolitics" of modern life. This distinct emphasis on the body and biological life can be found in every domain, from the discipline of the individual to the governance of populations, urban space, and the state. In this class, we discuss Foucault's theory in light of our contemporary situation, drawing on political philosophy, art, film, and our own experiences. Following on from Foucault, we will also look at how other writers and theorists have interpreted and adapted these ideas to look at questions of political activism, immigration and human rights, as well as gender and sexual politics. Seminar discussions and essays will provide students with an opportunity to critically examine these theories and develop their own understanding within the discourse.

Course number: HSOC-216
Prerequisite: n/a

In continued partnership with Kindred Space Los Angeles, students will collaboratively further design established comprehensive multi-modal awareness campaigns with the goal of facilitating access to equitable child birthing experiences, increasing awareness around black midwifery and improving health outcomes while addressing the Black Maternal health crisis in America.

Course number: TDS-400
Prerequisite: n/a

Black babies born in Los Angeles County are three times more likely than white babies to die before their first birthday, and Black moms are four times more likely than white moms to die of complications related to pregnancy and childbirth. The truth is that the gap in mortality rates between black and white babies has existed for decades. And it has not budged. Research is showing systemic racism, lack of midwifery care options, and lack of midwives & doulas of color as the causes for these shocking disparities. In response to the black maternity health crisis effecting black birthing people in this country, Kindred Space LA, which opened to the public in 2018, offers complete midwifery care creating space for the physical, emotional and practical preparation for birth and life with a newborn. Kindred Space LA is the only Black owned birthing center in Los Angeles. Located in South Los Angeles, Kindred Space LA is a fully operational birthing center and clinical training site for students serving the community of color. Women of color were more likely to say they were treated unfairly during birth and more than half said they'd be interested in midwifery care for future pregnancies. America's black babies are paying for society's ills. What can we do as designers to fix it? In this Designmatters and Humanities+Sciences co-hosted studio, students will collaboratively design comprehensive multi-modal awareness campaigns with the goal of facilitating access to equitable child birthing experiences, increasing awareness around black midwifery and improving health outcomes while addressing the Black Maternal health crisis in America.

Course number: TDS-399
Prerequisite: n/a

This course explores African American integration into mass culture since the sixties. We will focus on the origins and evolution of Hip Hop from a local urban working-class sub-culture into a national and international genre and industry. We will examine a twenty-year period (1972-1992) of unprecedented expansion of black representation in television, cinema and popular music, but also of new social crises facing black communities, such as the interrelated problems of joblessness, crime, hyperpolicing and mass incarceration. Required Text: Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary America (Hanover & London: Wesleyan University Press/ University Press of New England, 1994).

Course number: HHIS-253
Prerequisite: n/a

This course explores African American integration into mass culture since the sixties. We will focus on the origins and evolution of Hip Hop from a local urban working-class sub-culture into a national and international genre and industry. We will examine a twenty-year period (1972-1992) of unprecedented expansion of black representation in television, cinema and popular music, but also of new social crises facing black communities, such as the interrelated problems of joblessness, crime, hyperpolicing and mass incarceration. Required Text: Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary America (Hanover & London: Wesleyan University Press/ University Press of New England, 1994).

Course number: HSOC-253
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-102A
Prerequisite: n/a

Prada pulls racist trinkets. Netflix airs transphobic special. Cannes awards gender-biased ads. What do these headlines tell us? Brands are every bit as social as they are commercial. Viewed through the lens of identity, brands hold the power to exploit, marginalize, and even create social identities. Similarly, brands play a vital-and sometimes violent-role in defining the "other," blurring the line between profit and politics. In this studio, students learn how to read brands as belief systems that inscribe social codes. Lecture content and course readings draw on the fields of psychology, political theory, brand strategy, and more to underscore how brands like Prada, Netflix, Cannes (and more) affect race, gender, and class relations, among myriad other sociopolitical categories. Student teams translate course learnings into a brand identity system of their making that resists negative social stereotypes. They may also find some new identities of their own in the process. This course is eligible for the Designmatters Minor in Social Innovation.

Course number: TDS-432C
Prerequisite: n/a

The purpose of this class is to gain a more thoughtful and critical understanding of a brand, its history, current trends, social and ethical implications, and cultural context, as well as the brand's relationship to our individual and generational identity. We will explore sustainability and its impact on brand value, and what it means to create truly responsible design. Students will conduct and evaluate various forms of research and develop brand platforms and creative briefs to inform and inspire innovative solutions within their current design projects. Through class discussions of design thinking, critiques of design work, guest speakers, presentation and analysis of case studies, and development of branding strategies and strategy diagrams, we will examine how a brand is defined and translated through environmental design, product, graphics, advertising, and communications. We will work in multidisciplinary teams in a design charette format to created branded projects to directly implement what we have learned over the term.

Course number: HSOC-210
Prerequisite: n/a

The objective of this class is to gain a more thoughtful and critical understanding of a brand, its current trends, social and ethical implications, cultural context, as well as the brand's relationship to our individual and generational identity. We will explore what it means to create purpose-driven brands, grounded in values, culture, and authenticity that connect and create meaning. Students will uncover key insights from various forms of research and analysis to develop brand platforms that will inform and inspire innovative design solutions. Through class discussions, studio visits, field trips and case studies, we will examine how a brand is defined and translated through its various touchpoints. We will work in interdisciplinary teams to develop creative briefs and branding strategies to re-position a brand and communicate compelling and relevant stories using the tools that we have learned over the term.

Course number: HSOC-212
Prerequisite: n/a

Broken Music is a seminar class about the history and practice of sound in the arts beginning in the early 20th century, through post war, and up to the present. We will look at and listen to the sonic Avant-Garde of Europe, experimental sound practices in the United States, in other parts of the world, and alternative histories and practitioners will also be presented. This seminar is particularly interested in the multiplicity of sound in contemporary art practice and how that can be connected to other known art movements and genres of fine art. The history, technological advancements, current discourses, and contemporary practices will be presented as they are related to the sonic fine arts. Readings, reading responses, class discussions and presentations will comprise the class time. A selection of texts that situate and theorize sound in relation to art practice will be provided for reading and class discussion.

Course number: HHIS-276
Prerequisite: n/a

Course number: HBPP-TRNSFR
Prerequisite: n/a

This class will examine business and professional practices that help form the basis of a career in photography. The goal is to begin to create a practical business framework for aesthetic and commercial growth in a changing media landscape.

Course number: HBUS-201
Prerequisite: n/a

Building a successful career requires not just talent, but an understanding of what it takes to be in business. Business 101 is an introduction to the business side of creative practice. The course is divided into two parts: general business information, including starting up, intellectual property, and money; followed by topics specifically geared towards the illustration, photography, or design business, including marketing and self-promotion, pricing and estimating, contracts, and client relationships.

Course number: HBUS-101
Prerequisite: n/a

This class offers an insider's view of the business side of film and television development and production, from the acquisition of rights and the negotiation of agreements for writers, producers, directors, and actors, through the many avenues of distribution, including consideration of ancillary markets and so-called new media. Several class meetings will feature guest speakers, including top industry professionals such as studio executives, directors, producers, agents, etc. This class is open to all majors.

Course number: HPRO-230
Prerequisite: n/a

The business minor capstone project showcases the learning students experience throughout various business minor courses, develops deeper knowledge and puts it into practice with hands-on iteration. The Launch Prep course supports the capstone project with assignments and mentorship that aligns innovation, making, and prototyping skills, with startup development tools and business expertise. Students learn to build a repeatable formula to validate and launch new businesses and project ventures and create a practical rollout plan of milestones to meet student's business goals during later terms at ArtCenter into the future. Similarly, students may work through their capstone projects as an independent or guided study when The Launch Prep course is not offered. For the capstone project students can choose to focus on a design area of interest and align it with entrepreneurship, social entrepreneurship, corporate intrapreneurship, licensing, partnerships, or strategy. Existing concepts and projects are welcome but not required in this interdisciplinary experience. Projects can be independent or team-based collaborations. Topics covered include tactical research, in-person interviews, customer discovery, market analysis, financial strategy, intellectual property, manufacturing, production, and scaling a project or business.

Course number: HBSN-350
Prerequisite: n/a

Course number: HBUS-TRNSFR
Prerequisite: n/a

This entry-level survey class is intended to provide students with an overview of how businesses operate and the economic environment in which they compete. Its scope is wide, to provide a solid grounding in business and economics to students whether they leave college as freelancers, entrepreneurs, employees of art and design agencies, or employees of companies using art and design to create and sell products and services. For those continuing with further business courses, it will introduce many subjects that are covered in more depth in additional electives. Students will leave the class inspired to be inquisitive about the business side of art and design, and with a basic knowledge of business and economic concepts and terms to help them function and communicate more effectively within a business environment.

Course number: HBUS-110
Prerequisite: n/a

The skills learned throughout your education at Art Center are invaluable for acquiring a position in the field of product design. But in this extremely competitive field, skills alone will not ensure a successful career. Individuals who excel, whether as entrepreneurs, corporate designers, or consultant designers, have embraced and exploited their role in the bigger universe of industry. Designers who understand business, corporate disciplines and systems, and how design can strategically contribute to business objectives and goals enjoy rapid advancement and a higher level of career success.

Course number: HBUS-300
Prerequisite: n/a

How business affects and is affected by CMF. We will discuss Industrial Design as it relates to businesses and their customers, negotiation with vendors, Intellectual property. How to engage with Makers, customers. Managing info flow, alignment with internal management and outside vendors. Students will receive instruction on Copyright, Trademark and Patent as well as publicity and privacy rights, non-disclosure agreements and obligations and overview of contracts and deal memos/term sheets.

Course number: HSAP-814B
Prerequisite: n/a

Hands-on and theoretical material understanding and creation. We will cover the history, properties and strategies of materials applied to products. Students will cover topics on mechanical properties, optical properties, thermal/electrical properties and material selection strategies.

Course number: HSAP-814A
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-001A
Prerequisite: n/a

Campaign Cinema: Politics in American Cinema This course is a review of American dominant films that venture into the themes and visual essaying of American politics and their rituals. The focus on American presidential campaigns is themed since early American film history. The course will outline chronologically that narrative interest and examine films that contemplate subjects of presidential campaign stagecrafting, attempting to connect voter participation, yet often far off from the actual assemblies of administrative and legislative processes. Also to be considered, journalism, a prominent intersecting topic of this film history, as they are the purveyors and tattlers of campaign stagecrafting. What are party platforms and how are they staged in speechwriting and how are they made actual in legislation are grounds for this examination to help the student realize and progress their individual citizenship. Democracy and its configurations will be examined as we parallel consider this history of film and its political propositions. The course will also review and discuss political ads, current and from the past as well as cinematic structures will be examined and critiqued.

Course number: HNAR-360
Prerequisite: n/a

Human error and design flaws are the leading causes of some of the most devastating engineering disasters in history. This course will introduce students to a variety of materials science topics and their relevance to design through case studies of engineering disasters, including historical events such as the sinking of the Titanic, the explosion of the space shuttle Challenger, and the devastating environmental effects of Teflon production. While this course will provide students with an in-depth understanding of materials properties and limitations leading to these catastrophic failures, the design flaws which ultimately enabled these disasters to occur, as well as potential ethical lapses, will be discussed.

Course number: HSCI-218A
Prerequisite: n/a

Stemming from the ubiquity of "Made in China" in our daily lives, this course focuses on the history of Chinese ceramics from various perspectives. Of the diverse types of ceramics that have flourished in China, porcelain from Jingdezhen has experienced the broadest reach throughout the world. A fundamental objective of the course is to provide a basic understanding of ceramics and to develop analytical skills and critical vocabulary to discuss material, style, and techniques of Chinese ceramics. This course focuses on the porcelain center of Jingdezhen and explore the nature of its global scope. Organized thematically and from cross-disciplinary perspectives, the class will analyze the impact of local resources, social organization, consumer trends, and interregional relations on the production of polychromes, imperial monochromes, narrative illustration, and fantasies and folklore. By studying porcelain from various methodologies including scientific conservation, archaeology, anthropology, material culture and art history, the class will probe how close observation of porcelain-making interrogate conventional boundaries defining art, design, and craft while at the same time challenging the whiteness of porcelain histories.

Course number: HSOC-327
Prerequisite: n/a

Stemming from the ubiquity of "Made in China" in our daily lives, this course focuses on the history of Chinese ceramics from various perspectives. Of the diverse types of ceramics that have flourished in China, porcelain from Jingdezhen has experienced the broadest reach throughout the world. A fundamental objective of the course is to provide a basic understanding of ceramics and to develop analytical skills and critical vocabulary to discuss material, style, and techniques of Chinese ceramics. This course focuses on the porcelain center of Jingdezhen and explore the nature of its global scope. Organized thematically and from cross-disciplinary perspectives, the class will analyze the impact of local resources, social organization, consumer trends, and interregional relations on the production of polychromes, imperial monochromes, narrative illustration, and fantasies and folklore. By studying porcelain from various methodologies including scientific conservation, archaeology, anthropology, material culture and art history, the class will probe how close observation of porcelain-making interrogate conventional boundaries defining art, design, and craft while at the same time challenging the whiteness of porcelain histories.

Course number: HHIS-327
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-063A
Prerequisite: n/a

Designers rarely have access to children and teens or their worlds when creating products, images, experiences and environments for them. Therefore, fine distinctions between age transitions and the day-to-day experiences of children and teens are often overlooked. Children and teens are a complex user groups where knowledge of child development, children and youth culture today, play behavior, ethics in research and children's rights are all important to create better products, services and environments for healthy child development. This course is for students interested in expanding their research methodologies when creating diverse products and experiences for kids and teens. It is open to students of diverse disciplines that would like to learn new approaches to inform their work from a child-centered perspective. The course will include relevant theories, play exercises, guest experts and collaborative and individual assignments. It covers primary and secondary research methodologies on designing for and with children. Primary methods include observations, concept testing, interviews, surveys, focus groups, play testing, user testing, collaborative design, and post distribution and longitudinal studies. Topics for secondary research include child development theories, historical research, children and youth culture, pop culture, design culture, cross cultural perspectives, trend research, sustainable production materials and technology, safety, human factors, inclusive design, ethical business practices.

Course number: HSOC-368
Prerequisite: n/a

This course has you consider children's literature and asks you to write fiction or non-fiction for children. You need not be a writer to take this course--you learn by doing. We will read and analyze stories for children, ranging from myths to modern works, from young children to young adults. We will examine narrative structure and some of the basic requirements for writing books for publication. You should leave the course with a better understanding of the role literature for children plays in their lives, and how to create it.

Course number: HNAR-310
Prerequisite: n/a

American commercial films have been the subject of sustained commentary and debate for nearly as long as they have been produced. Their work on spectators in society is understood rather well by marketing executives, by intellectuals, and indeed by many "average" consumers, if the relentless self-reference of contemporary movies can be accepted as proof. The latest blockbuster -- soon to be commonly acknowledged classics -- address us as though they are the only satisfactory alternative. They (and their flacks) suggest that it would be perverse to want anything more from a movie. And yet, some people go looking elsewhere for film history. There is no unifying theory of works that offer resistance to the dominant model. A number of disparate tendencies and histories must be taken into account. This course takes up a discussion of a few of them in an attempt to suggest possible strategies for those still interested in pursuing a contestatory film practice.

Course number: HNAR-351
Prerequisite: n/a

Your ability to thrive in an increasing interconnected world is vital to having a successful career. Leadership in a creative context means being able to direct, influence and persuade people of all kinds. Being powerful and effective requires an understanding of when to take charge and when to join forces to work as a team. Collaborative leadership is about working together to achieve goals. This course will explore leadership styles and decision-making; the impact of culture, gender and heritage on leadership; communication and risk taking; motivating and negotiating with people; and team dynamics. You will learn leadership skills via experiential exercises within ever evolving group scenarios throughout the term. Guest speakers and a range of readings on leadership theory will demonstrate a variety of approaches to the concept of modern collaborative leadership.

Course number: HPRO-331
Prerequisite: n/a

How did the violence of the colonialism transform life across the Americas? How have the predatory and racist logics of colonialism manifested well beyond explicit acts of domination? How have practices of knowledge, art, and design perpetuated colonial relations and how might they help undo them? Together, we will consider the past and future of the Americas through stories of science and technology; art and design; environment and extraction in the (post)colonial eras. We will learn about the colonial project and its logics as well as a range of historical and contemporary strategies for dismantling colonial institutions and building alternatives. To do so, we will begin by situating ourselves in the history of the ancient and colonial Americas; examine the fall of colonial governance and its pernicious afterlives; and survey the work of Indigenous and Settler practitioners engaged in work of resistance and resurgence. Our conversations and assignments will emphasize both the scholarly analysis of colonialism as well as the implications of such thinking for our own everyday work as citizens, thinkers, artists, and designers.?

Course number: HSOC-382
Prerequisite: n/a

This course reflects on collaboration as a way of understanding creative practices and, more broadly, as a fundamental human experience. Despite the apparent undermining of the individual genius by the advent of postmodern thought, creative practice is still predominantly an individual enterprise. However, the last few years have witnessed a significant change in the conditions that privilege individual creation: economic crisis and social movements have emerged in every continent, creating spaces that stimulate values of collaboration, alternative economies and social engagement. We will explore recent social and artistic accounts of collectivism by artists, philosophers, sociologists and writers, and revise current examples of collective artistic endeavors. Students will creatively engage in collaboration exercises and present the readings to the class by means of lectures, performance, and/or other resources and artifacts related to their professional practices.

Course number: HCRT-215
Prerequisite: n/a

This course will engage students in reading and making comics, zines, and other systems of dissemination, offering these as a site for argument, for curation, where the maker can explore a theme of interest not just by reproducing their own work, but by collecting material from multiple contributors and presenting it in thoughtful combination. These kinds of projects: exercise writing and organizational skills plus critical and editorial thinking; inspire those the maker asks to submit; and foster/promote/demonstrate the idea of creative community, which is especially meaningful in divisive, distanced times. Students of all majors are encouraged to enroll: anyone with a creative practice, regardless of skill set, can work within this form.

Course number: HNAR-223
Prerequisite: n/a

Computers and devices have become ubiquitous in our lives. This course aims to provide students with an understanding of the role computation can play in solving problems and to help students, regardless of their major, feel justifiably confident of their ability to write useful programs and be creative. Students will learn how software works, how to think about problems logically and how to translate solutions into algorithms and code. Students will put these techniques to work creating their own game inspired by the classic 80's arcade. The class uses the Python language but NO previous coding experience is required.

Course number: HSCI-234
Prerequisite: n/a

This post-1960 Art History class intends to introduce key historical artistic movements, by providing contextual (social, political, cultural) landmarks, and by highlighting some major artists' figures (from Hans Haacke, to Sturtevant, to DIS Magazine.), to underline the ruptures and continuity of art history.All together, a constant focus on practices challenging traditional artistic classifications and borders--through appropriation, sound, craft or queer problematics--will be explored in a variety of manners. Through a wide range of visual material (photos and videos of artists' works, exhibitions views), along with theoretical material (artists' statements, catalogues' essays, and press responses), each class aims to give a broad understanding of the artworks 'intents and receptions, offering a good overview of high and popular culture at large.

Course number: HHIS-226
Prerequisite: n/a

This course traces the emergence of China as a contemporary society through its visual culture. After World War II the country was dominated by a Socialist Realist aesthetic in art, film, and design for publications and posters. During the era of "reform and openness" in the 1980s, artists and students were finally allowed to see what the rest of the world was doing, and launched their own experiments in art-making--even inventing a movement called Political Pop, which caught the attention of curators and collectors in the West. Topics to be covered include the dominance and subversion of the written language, the re-use of folk imagery, and the tradition of disguised protest in art.

Course number: HCRT-330
Prerequisite: n/a

One of the most exciting cinema cultures to emerge in recent decades is that of Mainland Chinese cinema. Mired in propaganda for the first three decades after the Communist revolution (1949), Chinese cinema finally found its authentic voice with the Fifth Generation, which emerged in the 1980s. These talented and ambitious filmmakers were graduates of the Beijing Film Academy, which had been shut down during the disastrous Cultural Revolution (1966-1976), and they were eager to tell stories truthful to the modern Chinese experience --- while eloquently using cinema language. The films they made --- such as "Yellow Earth," "Raise the Red Lantern," and "Blue Kite" --- were often banned at home but found audiences abroad through international film festivals, and the directors were lauded as auteurs. Today, Chen Kaige and Zhang Yimou are internationally recognized, and a younger generation steps in to try to capture China in transition. This course will start with examples from the silent era (1930s) and Communist propaganda films (early 1970s), then quickly move into the films that became international sensations. Also covered will be the art films of Feng Xiaogang and Jia Zhangke.

Course number: HCRT-302
Prerequisite: n/a

One of the most exciting cinema cultures to emerge in recent decades is that of Mainland Chinese cinema. Mired in propaganda for the first three decades after the Communist revolution (1949), Chinese cinema finally found its authentic voice with the Fifth Generation, which emerged in the 1980s. These talented and ambitious filmmakers were graduates of the Beijing Film Academy, which had been shut down during the disastrous Cultural Revolution (1966-1976), and they were eager to tell stories truthful to the modern Chinese experience --- while eloquently using cinema language. The films they made --- such as "Yellow Earth," "Raise the Red Lantern," and "Blue Kite" --- were often banned at home but found audiences abroad through international film festivals, and the directors were lauded as auteurs. Today, Chen Kaige and Zhang Yimou are internationally recognized, and a younger generation steps in to try to capture China in transition. This course will start with examples from the silent era (1930s) and Communist propaganda films (early 1970s), then quickly move into the films that became international sensations. Also covered will be the art films of Feng Xiaogang and Jia Zhangke.

Course number: HHIS-302
Prerequisite: n/a

This course surveys the remarkable development of contemporary art in two powerhouse Asian countries, China and Japan. Japanese artists emerged into contemporary modes shortly after World War II, partly as protest against the war, while it took the death of Mao Zedong in 1976 to free Chinese artists to do so. While tracing historical and cultural roots, we will study the work and careers of individual artists who have made an international impact -- artists such as Ai Weiwei and Cai Guoqiang for China, and Yayoi Kusama, Takashi Murakami, Yoshitomo Nara, and Mariko Mori for Japan.

Course number: HCRT-305
Prerequisite: n/a

What defines a place, and how have our notions of place changed and evolved during the modern and postmodern eras? In this course, we'll examine the cultural, social, political, and economic forces at play in the design of spatial experiences. Beginning with industrialism and the start of the modern age, we'll explore how ideas about the nature of everyday life begin to change paradigms of thought in art, politics, and philosophy; eventually altering both the practice and products of design. Following this thread through to postmodernism, we will examine the ways these shifting ideas continue to develop, and manifest in contemporary design work, paying particular attention to the design elements of place; including: commercial, domestic, civic and recreational spaces. Design as a cultural product, will serve as a framework to investigate and discuss the evolution of place in multiple contexts as experienced by many users. In addition to design examples, we will look at precedents in art, architecture, film and literature. Readings will consist of key theoretical texts of the period. As we unpack the meanings of place, we will develop a critical lens through which we can better analyze and apply to our own work.

Course number: HHIS-393
Prerequisite: n/a

This course will focus on the indelible significance of politics in art. One of the regions where the interrelationship of art and politics has been clear throughout history is Eastern Europe, known for its historical and cultural complexities. For students who are interested in a multi-layered cultural landscape, which, although it appears to be far away, is in many ways close to home, this course will offer rich information and insight into the political and cultural contexts that inform and shape art, design, architecture, and the art discourse. The postwar and contemporary arts of Central and Eastern Europe will be examined as a case study that leads to the understanding of the institutional structure of the art scene in our world.

Course number: HHIS-225
Prerequisite: n/a

This is an introductory conversational Japanese course designed to help students prepare for their study abroad experience in Japan. In this course you'll learn useful conversational phrases and vocabulary words for everyday life situations such as introducing yourself, traveling, shopping, and eating out. An overview of the Japanese writing systems will also prepare you to read basic signs and menus. You'll also gain a cultural understanding and acquire basic conversational skills through interactive exercises, dialogues and field trips. This course is restricted to students selected for the TAMA Study Abroad Program in Japan.

Course number: HHUM-101
Prerequisite: n/a

Where exactly should a story begin? Does the last and final scene seem inevitable? What belongs in the middle? Every fiction writer has questions like these at one time or another. In this creative writing workshop you'll look for answers by exploring short stories by contemporary writers and by workshopping your own pieces. We'll look at various avenues, including some nonfiction, for what's needed to establish a solid foundation for a story. By the end of the course you should have a much better understanding of how basic points of structure in a story change how we receive a piece of writing. Students should have experience writing short stories.

Course number: HNAR-306
Prerequisite: n/a

In this course, students will learn how to write scripts for animated television series and to prepare an original "pitch bible." The class will discuss building compelling families of characters, stages of crafting a script, narrative arcs, the collaborative job of a TV writer, writing effective dialogue, and the distinct job of "showrunning" a TV series. Eric Lewald has written for television, primarily in animation, for over thirty years, working for all of the major studios and television networks. He has "showrun" 14 series, including the 1990s X-Men, and is the author of two books on that hit show. Whether students hope to become professional writers for television, movies, commercials, or games, the narrative skills needed to create compelling script-based intellectual property are similar. Those are the skills we will focus on in this class.

Course number: HNAR-315A
Prerequisite: n/a

This course is designed to provide students with both the historical context and foundational research skills they need to create art, design, and media for both local and global social innovation. During the first half of the term we will analyze social documentary photography, human-centered design, museum exhibitions, films, urban planning, and architecture to help students establish a framework for understanding creative interventions into international development and social advocacy. Building on this context, each student will conduct an independent research project that investigates a topic or opportunity within the field of social impact. Students will create images, objects, and writing as part of an integrated research practice, and revise these materials in ways appropriate to the practices of art and design; they will also practice design research and introductory ethnographic field methods in order to gain fresh insight on their chosen topics. Students will be challenged to think critically about the cultural, political, and economic effects of art and design interventions. Final projects will consist of a presentation and a short paper detailing each student's research experiences and reflections.

Course number: HSOC-206
Prerequisite: n/a

This course is designed to equip creative professionals with essential financial literacy skills to make informed business decisions. Students will learn budgeting, pricing strategies, cost estimation, and financial analysis with a specific focus on design projects and business operations. The course emphasizes the importance of understanding key financial tools, such as financial statements and metrics, to effectively plan, launch, and manage a thriving creative business. By the end of the course, students will be able to apply financial principles to their creative ventures, ensuring sustainability and growth from inception through to business exit. Ideal for creatives working in design, entertainment, and other related industries, this course connects the worlds of finance and creativity.

Course number: HBUS-221
Prerequisite: n/a

This course is designed to focus on collaborating in teams. Stimulating and facilitating creative thinking enables diverse groups to generate innovative ideas that impact business. Creative collaboration is about being able to direct, influence and persuade people of all kinds. The fundamental skills and best practices of successful group dynamics in situational leadership, effective communication, flexible delegation, negotiation, planning and addressing meaningful problems will be explored. Through experiential exercises within ever evolving group scenarios, you will increase your capacity and become confident in your ability to thrive in a variety of collaborative environments. The experimental structure of the course creates an opportunity for you to exercise your imagination and take ownership of the collective learning process. In addition, several team projects and a range of theoretical readings will demonstrate a variety of interesting approaches to creative collaboration.

Course number: HPRO-332
Prerequisite: n/a

The goal of the course is to provide an understanding of the structure, relevance, delivery and preparation needed for persuasive and compelling presentations and critiques. This course can raise awareness of what professionals do to develop and sell their ideas. Presenting well is a requirement for the development of the designer's voice and the work itself. This course gives a designer, solo or in a team, what they need to be able to craft effective presentations to large and small audiences, in virtual or physical spaces. Critiquing methods will be reviewed and practiced to enable students to effectively give and receive input on their ideas and the ideas from their teams.

Course number: HPRO-201
Prerequisite: n/a

This course, is an exploration of the use of new and emergent technologies in the generation and execution of a creative design process. Students will be introduced to a range of digital tools with both physical and virtual implications, and use these tools to innovate, iterate and develop solutions to discrete problems. Students will explore of a wide range of current technologies and media, as well as the value and nature of human interaction with technology as part of the design process. Subjects will include: prototyping, code as Medium, emerging tech, and interaction. The course will be structured by a series of one-to-two-week long assignments culminating in a longer final project. Course Learning Outcomes: 1. Prototyping: Students will be able to construct working prototypes of experiences across a continuum of technologies and media. 2. Code as Medium: Students will learn how the use of code can be an integral part of the creative process - that code can generate design, not just execute it. 3. Emerging tech: Students will learn about a range of emerging design and production technologies and explore how to apply these to creative project work. 4. Interaction: Students will be able to identify and communicate how, where, when, and why people connect to interactive experiences. 5. Interaction: Students will be able to design with intent: prototype, test and refine an interaction incorporating feedback from users.

Course number: HSCI-102
Prerequisite: n/a

The capstone project is a manuscript that each Creative Writing Minor candidate builds and refines during a semester: A collection of poems, a short story or several, image/text hybrid work, a screenplay, stage play, or any combination of genres the candidate wishes to work on. Capstone Seminar offers the time, structure, support, and rigor it takes to complete such a project, plus the opportunity to engage in this process in community. Along with refining their own manuscript to its most successful iteration, each participant will be responsible for contributing to their classmates' progress through thoughtful reading and discussion. At the end of Capstone Seminar, each candidate submits a manuscript that represents the work of which they are most proud, or that they feel to be most representative of their arc of improvement from the previous other four courses of the Creative Writing Minor.

Course number: HCRW-350
Prerequisite: n/a

Psuedo course block

Course number: HHUM-CW.PC
Prerequisite: n/a

No need to enroll/no credit. Open to all Art Center students (undergraduate and graduate), this workshop consists of one-on-one meetings with the creativity coach at times to be arranged. The focus is on releasing your untapped creative energies to make your work more alive, dynamic, original, and truly fulfilling. Creativity-enhancing processes are easily customized for your specific needs and goals. It's simple, fun, and free, and produces dramatic, immediate results for projects/assignments in all design disciplines.

Course number: HHUM-001
Prerequisite: n/a

Artist and critical studies professor Pauline Sanchez will meet with students to discuss and critique ongoing student production, including writing, fine art, and/or design projects, to deepen their understanding of history, culture, theory, and how their work functions in the contemporary art and design world. Further reading and/or research may be assigned. Students will sign up for one-hour meetings.

Course number: HHUM-002
Prerequisite: n/a

Professor will meet with students to discuss and critique ongoing student production, including writing, fine art, and/or design projects, to deepen their understanding of history, culture, theory, and how their work functions in the contemporary art and design world. Further reading and/or research may be assigned. Students may engage via established studio visits or crits in a department or via independent meeting arranged through the Department of H&S or directly with the professor.

Course number: HHUM-006
Prerequisite: n/a

This class is a study of films and videos made by artists who have a unique approach to process and to relationships between form and content. We will look at works by women from around the world in the fields of Experimental Film, Video Art, Independent film and internet based projects, among other practices. Some examples include the films of Akosua Adoma Owusu, Cheryl Dunye, Peggy Ahwesh, Ana Mendieta, Shambhavi Kaul, Yvonne Rainer and Sophie Calle. Rather than looking at the films through established theoretical frameworks of film or women's studies, we will be engaging a more open approach by which we allow the frameworks to emerge from the works themselves. Our involvement with this experimental pedagogy includes reading and discussing primary source materials (artist writings) and other theoretical texts and keeping written entries for every artist and every film. We will ask ourselves questions such as ..what is the role of influence and lineage in these works? How are notions of collaboration conceived and enacted? How does the presence of personal material interact with other types of subject matter? Part of the objective of this class is to expose you to a greater number of works by women than you would otherwise see. There'll be visiting artists and field trips around town. This class is open to everyone.

Course number: HNAR-352
Prerequisite: n/a

This course is a weekly 3-hour seminar in which students build a strong foundation in the theories and discourses surrounding visual culture, mass media, and design. Rather than proceeding chronologically, students investigate ideas through a series of overlapping and interrelated thematics with the goal of developing frameworks that enable a robust and critically engaged media design practice. The course materials will address a variety of media and design practices as they intersect with key theoretical discourses. Most of the texts will focus on topics related to American and European visual culture, but not to the exclusion of other cultural and geographic contexts. Course materials will be examined from a variety of perspectives, and will explore questions of modernity, textuality, visuality, technology, gender, race, and globalization.

Course number: HHIS-401
Prerequisite: n/a

What role might artists and designers play in scripting possible futures, at a moment when it has become difficult to sustain imaginaries of any future whatever? Amid conditions of ecological crisis and systemic injustice, who inscribes the future, and for whom is the future structurally foreclosed? In this scenario, artists have increasingly turned to future-oriented practices as a tactic of refusal and survival. Attending to their work, this course will examine a range of global practices spanning Afrofuturisms, Arab Futurisms, Indigenous Futurisms, Latinx Futurisms, Sinofuturisms, and SWANA Futurisms, among others. Artists' projects will be paired with critical texts by Black Quantum Futurism, Grace Dillon, T. J. Demos, Kodwo Eshun, Yuk Hui, Kara Keeling, Jussi Parikka, Sofia Samatar, and others. Students will coproduce the course's assessment rubrics, and will participate in the design of the class as active co-creators of curriculum through student-generated modules.

Course number: HSOC-520
Prerequisite: n/a

What role might artists and designers play in scripting possible futures, at a moment when it has become difficult to sustain imaginaries of any future whatever? Amid conditions of ecological crisis and systemic injustice, who inscribes the future, and for whom is the future structurally foreclosed? In this scenario, artists have increasingly turned to future-oriented practices as a tactic of refusal and survival. Attending to their work, this course will examine a range of global practices spanning Afrofuturisms, Arab Futurisms, Indigenous Futurisms, Latinx Futurisms, Sinofuturisms, and SWANA Futurisms, among others. Artists' projects will be paired with critical texts by Black Quantum Futurism, Grace Dillon, T. J. Demos, Kodwo Eshun, Yuk Hui, Kara Keeling, Jussi Parikka, Sofia Samatar, and others. Students will coproduce the course's assessment rubrics, and will participate in the design of the class as active co-creators of curriculum through student-generated modules.

Course number: HSOC-420
Prerequisite: n/a

This course will provide a basic visual vocabulary or rhetoric. The primary learning objective is to understand how images work--successfully or not--to convey the intended meaning of the artist/designer to a desired audience. Rather than ask what images mean, the emphasis is on how they work in a variety of contexts. In other words, students will learn the rhetoric of visual communication, with "rhetoric" understood here as a form of persuasion that produces an intellectual and physical transformation in the viewer.

Course number: HCRT-100
Prerequisite: n/a

Course number: HCRT-TRNSFR
Prerequisite: n/a

This course critically examines design's normative worldview via theory, case study, research and writing. Challenging the adequacy of modernist, European value sets for contemporary design, students will explore their own worldviews, and be confronted by those of others. How can a critically engaged understanding of culture and context equip designers for productively addressing contemporary issues? In what ways does a serious consideration of context shape our understanding of materials, aesthetics, or even design itself?

Course number: HSOC-417
Prerequisite: n/a

This course critically examines design's normative worldview via theory, case study, research and writing. Challenging the adequacy of modernist, European value sets for contemporary design, students will explore their own worldviews, and be confronted by those of others. How can a critically engaged understanding of culture and context equip designers for productively addressing contemporary issues? In what ways does a serious consideration of context shape our understanding of materials, aesthetics, or even design itself?

Course number: HHIS-417
Prerequisite: n/a

This course continues to critically examine design's normative worldview via theory, case study, research and writing. Students will explore their own worldviews, and be confronted by those of others. Students will begin to develop their own position to productively address contemporary issues through writing and reflection on their burgeoning design practice in preparation for the independent research of the thesis year.

Course number: HSOC-467
Prerequisite: n/a

Crowds are typical of modern urban experience: audiences and spectators, commuters and shoppers, protesters and believers all participate in the logic of the crowd. But what does it mean to join the masses, to be counted amongst the population, or to disappear into the multitude? At the turn of the twentieth century we understood the crowd as a dangerous figure to be feared and suppressed, but now we seem to have new categories of both 'crowd intelligence' and 'smart cities'. How should we understand the aesthetics and politics of the crowd today? This seminar course will look at the history and theory of crowds, cross-examining the group psychology of the modern masses with the urban biopolitics of population, circulation, and complexity. Through a range of historical and theoretical readings, the course will provide an interdisciplinary introduction to the crowd and its impact on our understanding of mass media, mass culture, and modern life.

Course number: HSOC-223
Prerequisite: n/a

Crowds are typical of modern urban experience: audiences and spectators, commuters and shoppers, protesters and believers all participate in the logic of the crowd. But what does it mean to join the masses, to be counted amongst the population, or to disappear into the multitude? At the turn of the twentieth century we understood the crowd as a dangerous figure to be feared and suppressed, but now we seem to have new categories of both 'crowd intelligence' and 'smart cities'. How should we understand the aesthetics and politics of the crowd today? This seminar course will look at the history and theory of crowds, cross-examining the group psychology of the modern masses with the urban biopolitics of population, circulation, and complexity. Through a range of historical and theoretical readings, the course will provide an interdisciplinary introduction to the crowd and its impact on our understanding of mass media, mass culture, and modern life.

Course number: HHIS-223
Prerequisite: n/a

Cultural anthropology shows the organic design of culture in general, emphasizing the similarities and differences between cultures in the world. By the end of the course the student should understand the basic institutions of all cultures as well as be able to discuss the traits, rituals, and lifeways of several specific cultures. We will answer the following questions: Why do people in different parts of the world act so strangely and why should design and art students care? How do anthropologists discover the design of culture? Why do mothers in the Beng culture give their babies chili pepper enemas? Why do you speak with an accent when you learn a second language? When is your wife's mother also your father's sister? Why is Indian food served on metal trays? and many others.

Course number: HSOC-112
Prerequisite: n/a

Digital devices and infrastructures have outsized implications for collective life today. Like all technologies, they are the result of coordinated human activity that produces innovation through research, business, design, and daily life. This class introduces students to the anthropological analysis of these practices, offering tools for thinking critically about the cultural contexts and impacts of emerging technology. What makes particular corners of the world famous as hotbeds of "disruptive" thinking? How do online platforms shape their users and how do users transform these platforms in turn? How does technology reflect and inform contemporary struggles over race, gender, class, colonialism, and governance? By asking questions like these, we will develop tools for understanding technology as a product of cultural practice; an agent of social change; and an object of collective deliberation. Constructed as a seminar, this course will include readings from anthropology, science and technology studies, fiction, and other fields, alongside weekly writing responses and a final design proposal.

Course number: HSOC-381
Prerequisite: n/a

Digital devices and infrastructures have outsized implications for collective life today. Like all technologies, they are the result of coordinated human activity that produces innovation through research, business, design, and daily life. This class introduces students to the anthropological analysis of these practices, offering tools for thinking critically about the cultural contexts and impacts of emerging technology. What makes particular corners of the world famous as hotbeds of "disruptive" thinking? How do online platforms shape their users and how do users transform these platforms in turn? How does technology reflect and inform contemporary struggles over race, gender, class, colonialism, and governance? By asking questions like these, we will develop tools for understanding technology as a product of cultural practice; an agent of social change; and an object of collective deliberation. Constructed as a seminar, this course will include readings from anthropology, science and technology studies, fiction, and other fields, alongside weekly writing responses and a final design proposal.

Course number: HHIS-381
Prerequisite: n/a

Digital devices and infrastructures have outsized implications for collective life today. Like all technologies, they are the result of coordinated human activity that produces innovation through research, business, design, and daily life. This class introduces students to the anthropological analysis of these practices, offering tools for thinking critically about the cultural contexts and impacts of emerging technology. What makes particular corners of the world famous as hotbeds of "disruptive" thinking? How do online platforms shape their users and how do users transform these platforms in turn? How does technology reflect and inform contemporary struggles over race, gender, class, colonialism, and governance? By asking questions like these, we will develop tools for understanding technology as a product of cultural practice; an agent of social change; and an object of collective deliberation. Constructed as a seminar, this course will include readings from anthropology, science and technology studies, fiction, and other fields, alongside weekly writing responses and a final design proposal.

Course number: HCRT-381
Prerequisite: n/a

Pseudo course block

Course number: HHUM-002.PC3
Prerequisite: n/a

More than 700 years ago, a man from the Italian city of Florence, pretty much on his own, invented the idea of creating characters based (somewhat) on his own life experiences. His name was Dante Alighieri, and he became so important to the development of European literature that we have come to know him simply by his first name, Dante. The story he told was of a single person's journey through the Medieval Catholic Otherworld, that is, a journey through Hell, Purgatory and Heaven. He called his work a comedy (Commedia in Italian) and his first biographer, Giovanni Boccaccio (arguably the inventor of the novel as a literary form), pronounced the work "Divine." Since then, the whole trilogy has been know as the Divine Comedy (Divina Commedia, in Italian.) In this course we will closely read the first book of the Commedia, Hell (L'Inferno) in which the main character, also called Dante, is guided through the horrors of Hell by the Roman poet Virgil. The journey is surreal, horrifying, sometimes funny, often touching. It is also, in addition to being one of the great stories, an encyclopedia, into which the author Dante poured all his knowledge of the 14th century world: spiritual, psychological, philosophical, political, astrological and scientific. The Inferno has been an inspiration for artists, writers, musicians, theologians and scholars for almost as long as it's existed. Together we'll delve into the strange, dreamlike, always exciting world that Dante created. The gates of Hell, according to Dante, have an inscription that ends with the famous sentence, "Abandon all hope you who enter." In this course we'll keep hope alive as we lower ourselves into the inferno with one of humanity's great and compelling poets.

Course number: HNAR-319
Prerequisite: n/a

Data are a tool of worldmaking, reflecting and reinforcing past and present structures of power. Data also script the future. Building from that premise, this class will explore how critical approaches to data can encode alternate collective futures. With a particular focus on the role of data in art and design, we will look pair key texts on data feminism and critical data studies with works by Algorithmic Justice League, Morehshin Allahyari, Stephanie Dinkins, Lynn Hershman Leeson, Los Angeles Artist Census, Lauren Lee McCarthy, Mimi ?n??ha, Caroline Sinders, Amelia Winger-Bearskin, and others. Students will codetermine the course's assessment rubrics, and will participate in the design of the class as co-creators of curriculum through student-generated modules.

Course number: HHIS-364
Prerequisite: n/a

Data are a tool of worldmaking, reflecting and reinforcing past and present structures of power. Data also script the future. Building from that premise, this class will explore how critical approaches to data can encode alternate collective futures. With a particular focus on the role of data in art and design, we will look pair key texts on data feminism and critical data studies with works by Algorithmic Justice League, Morehshin Allahyari, Stephanie Dinkins, Lynn Hershman Leeson, Los Angeles Artist Census, Lauren Lee McCarthy, Mimi ?n??ha, Caroline Sinders, Amelia Winger-Bearskin, and others. Students will codetermine the course's assessment rubrics, and will participate in the design of the class as co-creators of curriculum through student-generated modules.

Course number: HSOC-364
Prerequisite: n/a

In this Design Matters TDS, students will zero in on possible futures of DEAD MALLS. We start by asking two key questions. First: Should dead, unused suburban malls be resurrected or remain ancient commercial ruins of twentieth century spatial planning? Second: If they are to be resurrected, what if Dead Malls could be turned into Healthy Space - healthy for living, learning, working, healing and play? Given the urban and suburban complexity the topic, we will learn from guest speakers, panel discussions, field trips and workshops regarding how to transforming large scale "dead" and unused architecture into viable community-centers, such as, Equity housing, Community health centers, educational centers for Green Living or Entertainment Centers. Our focus will be on healthy options - healthy for people, planet and profit. This course is eligible for the Designmatters Minor in Social Innovation

Course number: TDS-439
Prerequisite: n/a

Death lurks behind everything we do. It generates fear, grief, and shame, but also ambition, hope, and curiosity. To confront it, we'll conduct class more as a philosophical experiment than a traditional academic exercise. You'll be asked to read about death and dying every week, produce new designs and artworks, and participate fully in class discussions. In the process, we'll focus on some traditional philosophical questions: Is death an evil? Is survival after death likely (or even desirable)? How is death related to creativity? to personhood? to eroticism? We'll address difficult ethical issues like suicide, euthanasia, abortion, capital punishment, war, martyrdom, genocide, the exploitation of death, and the eating of animals. We won't conclude much of anything, but ideally we'll each gain a deeper understanding of ourselves and the world.

Course number: HCRT-306
Prerequisite: n/a

Design does not unfold in a vacuum. Increasingly, the discipline is called to examine its connections to larger material, economic, and cultural networks. This class offers a window onto crucial domains hidden from the usual view from the studio to see how this broader world lives within the work of design. In dialogue with ideas from anthropology, history, economics and elsewhere and engaging in a series of collaborative projects surrounding the Los Angeles design ecology, the class will examine where design's materials come from; how these resources are transformed through varied forms of skill; and the diverse economies in which design circulates and is made meaningful. Throughout the course, students will work in close collaboration with the instructor and selected designers in the creation of original research and projects.

Course number: HSOC-326
Prerequisite: n/a

"Just squat down awhile and after that things begin to happen." - Zora Neale Hurston Ethnographic methods are central to the work of anthropology, and this qualitative approach has been increasingly adopted by designers seeking to understand their users and the cultural contexts in which they intervene. This course offers an introduction to ethnography as it has been practiced and transformed in anthropology and beyond, along with practical tools for generating ethnographic insights for use in the design process. Premised on hands-on engagement across cultural contexts, ethnography traces the varied shape of cultural life, aspiring to grounded, respectful, and dialogic accounts of the everyday. Such insights offer a vital resource for designers interested in developing innovative and ethical solutions to collective challenges. During this course, students will learn a variety of ethnographic methods while employing them at a chosen fieldsite. The resulting data will inform the development of a final project. Course readings and discussions will offer an introduction to debates in ethnographic theory; the application of qualitative methods in design research; techniques for data coding and analysis; as well as the politics and ethics of research.

Course number: HSOC-230
Prerequisite: n/a

History of Comics & Animation provides in-depth critical studies of illustrated sequential narrative, both print and motion, with emphasis on creative visualization. Its goal is to expand, enhance, and enrich graphic communication skills. To that end, it encompasses pictorial media from single image to multi-panel cartoons, comic strips to comic books and graphic novels, and flip-books to animated film and video. It explores landmark theories, moments, and movements of significant innovation and transformation from a diversity of perspectives. It investigates the form and content of comics and animation within broader artistic, social, political, economic, and technological contexts, and covers a variety of eras, cultures, and issues. Learning methods: audio-visual presentations, opinionated classroom discussions, take-home exams, guest speakers, and other strategies.

Course number: HHIS-256
Prerequisite: n/a

Design Theory provides a critical examination of issues, theories, movements and practices that are relevant to the contemporary design. The course covers the history of design, including graphic design, fashion, and architecture with a focus on 1900 to present. Through lectures, readings, discussions and writing, students will explore these themes; engage in critical analysis of selected historical and contemporary works; and use case studies to further understand the cultural, social and political implications of design as a visual and culture language.

Course number: HHIS-391
Prerequisite: n/a

Often, the design process begins from a desire to radically transform the daily lives of its users. What would it look like if instead we prioritized understanding and supporting the everyday as it already exists? This course offers an introduction to anthropologies of everyday life; the study of material culture; and research based creative practices. In addition to engaging relevant texts and projects in a seminar format, students will work on a series of research and creative briefs around these themes in dialogue with their own interests. The course will work in active dialogue with designers, object collections, and the urban life of Los Angeles.

Course number: HSOC-355
Prerequisite: n/a

Design for Social Innovation. Design for Social Impact. Public Interest Design. Social Design. Design for Good. Design for Social Good. All of these terms have been used (sometimes interchangeably) to refer to design that makes society better. But how does Design for Social Innovation (or whatever we call it!) actually happen? What are some roles designers might inhabit when enacting social change? Who might designers need to work with, and how might they work differently when designing with a socially-conscious intent? In Design for Social Innovation, we will trace the histories, theories, and practices necessary for a foundational knowledge of the space. Resources will be drawn from historians, cultural theorists, public figures, and, of course, designers themselves. Real-world case studies of social innovation design projects from around the globe and right here at ArtCenter will be centered in our weekly analysis, yielding important insights regarding successes and failures. Students will leave this class with an understanding of what questions to ask, what methods to pull from, and who to seek out when working on projects intended to lead us to a sustainable, equitable and ethical future.

Course number: HSOC-206A
Prerequisite: n/a

"Design" is being redefined, and designers must now use their unlimited ingenuity to consider the environmental consequences of materials, production methods, performance, and life cycling. Students learn the fundamental principles of the science of ecology, study methods for evaluating environmental performance of design/product concepts, and learn current strategies for creating a sustainable interface between design and the environment.

Course number: HSCI-251
Prerequisite: n/a

Design is usually distinguished from art for its utility and the role it plays in people's daily lives. What happens when these works enter contexts of collecting and display like the museum? This course examines the past and future of the collection, curation, and display of works of design and material culture. Our work will involve visits to relevant collections and exhibitions as well as dialogue with curators and designers. Through assignments, students will critically reflect on current and historical exhibitions, explore collections objects collections, and develop their own visions for design exhibitions of the future.

Course number: HHIS-246
Prerequisite: n/a

Design is usually distinguished from art for its utility and the role it plays in people's daily lives. What happens when these works enter contexts of collecting and display like the museum? This course examines the past and future of the collection, curation, and display of works of design and material culture. Our work will involve visits to relevant collections and exhibitions as well as dialogue with curators and designers. Through assignments, students will critically reflect on current and historical exhibitions, explore collections objects collections, and develop their own visions for design exhibitions of the future.

Course number: HSOC-231
Prerequisite: n/a

This course will challenge students to explore the past, present, and future of democratic participation and civic engagement. Students will learn about how US elections have changed over time through analyzing the history of voting rights, civil rights, ballot technologies, media representation, and power. With knowledge partners from across the political spectrum, students will conduct primary research to learn about the contemporary landscape of civic participation in the LA metro area, envision the role design can play in the election process, and build frameworks and strategies for the future. Creative projects will invite public engagement in the political process through the creation of campaigns, collateral, systems, experiences, spaces (and more!) aimed at increasing voter participation in and beyond California.

Course number: HSOC-301B
Prerequisite: n/a

This is a team taught class exploring the nature and experience of time. The science fiction of time travel has greatly enhanced the thinking about the nature of time and the role of time in the sciences and in art. Broken into three topical modules, we wondrously explore the conceptual intersections of the neurology, the psychology, and the physics/mathematics around the thread of fictional time travel. In the first and second modules, we study the brain as a time traveling machine, analyzing biochemical arguments ranging from short term synaptic plasticity and dependent networks, to the way the brain creates the experience of past, present and future. In the third module we will explore special relativity arguments regarding time dilation and length contraction, and discuss new research on the role of computational fitness driving the flow of time. We will analyze time travel using novel ideas regarding the black and white holes of general relativity, and multiple time dimensions. Throughout the class we will reflect on how artists have explored the complexities and paradoxes of time travel, and in the final project of the class we will encourage students to find creative applications for the theoretical content of the class.

Course number: HSCI-272
Prerequisite: n/a

Design is following the pathway of any professional practice, moving towards taking responsibility for the function at the enterprise level. Design started out making artifacts, then moved into design thinking, and now is at the juncture of getting a seat at the table in the C suite. This course offers students the opportunity to bring a variety of learning acquired from their business minor and design major and apply them to an all-encompassing portfolio piece that can demonstrate their potential for design leadership. During the course they learn from professionals that practice in the industry of their choice, consider trends that are impacting their discipline, and how they can differentiate in face of competition to create an ownable proposition. As basic competencies in design become standard for employees without formal design education, this business minor capstone places the skills of designers and artists beyond the context of artifact making and into that of creating value and impacting change across organizations, and thus across society. The course enables the designer to create a holistic business system around a design solution to further the intent of the artist or designer while harnessing cultural movement and sustainability goals.

Course number: HBUS-303
Prerequisite: n/a

You've got detention! This unique philosophy lab, offered only in the summer term, is a lively experiment in art and education. It will be anti-authoritarian and somewhat chaotic by design, so you'll need to be open to unconventional assignments. In fact, the only way to pass the course is to risk complete failure. Each week, we'll combine studio practice with philosophy to explore the vagaries of sense perception, communication, beauty, desire-even death. We might squeeze in a field trip. No philosophical background is required or expected: just an eagerness to understand yourself and the world.

Course number: HCRT-303
Prerequisite: n/a

Different Tomorrows Assembles a counter-history of design that repositions design discourse beyond the Eurocentric, techno-deterministic normalities to reimagine future design trajectories that privilege critical engagement with questions of race, gender and inequality.

Course number: HSOC-313
Prerequisite: n/a

Offers a design history ?that repositions design discourse beyond the default Eurocentric, techno-deterministic normalities in order to reimagine? design trajectories that privilege critical engagement with questions of race, gender, access and worldview.??

Course number: HHIS-266
Prerequisite: n/a

Distinctions between "real" life and the cultural experiences facilitated by digital platforms are increasingly difficult to maintain. No longer spaces that merely supplement or distract from our ordinary lives, online worlds are integral to the creation and maintenance of contemporary identities, work flows, communities, and more. This class takes an ethnographic approach to understanding the variety and significance of life online. Premised on deep engagement across cultural contexts, ethnography aspires to grounded, respectful, and dialogic accounts of the everyday. Over the course of the term, students will be introduced to anthropological precedents and hands-on methods for learning about and from the digital. As global crisis forces more and more of social life online, the research tools provided in this class are of growing importance-both to scholars interested in understanding transformations to contemporary life and designers working to develop innovative and ethical solutions to collective challenges. During this course, students will learn a variety of ethnographic methods while employing them at a chosen online fieldsite. The resulting data will inform the development of a final project. Course readings and discussions will offer an introduction to debates in ethnographic theory; the application of qualitative methods in research; techniques for data analysis; as well as the politics and ethics of research.

Course number: HSOC-315
Prerequisite: n/a

Libraries, archives, museums, the great repositories of the human past, make available sources that have enhanced how we learn subjects and make things. The vast digital collections on the Web have transformed the way we study the past achievements of humans, whether history, literature, philosophy, music, or art. This is a practice-based humanities course with a research and design component. Students work individually or collaboratively on projects such as history websites, video essays, set designs or promotional materials for plays or operas.

Course number: HHIS-296
Prerequisite: n/a

Libraries, archives, museums, the great repositories of the human past, make available sources that have enhanced how we learn subjects and make things. The vast digital collections on the Web have transformed the way we study the past achievements of humans, whether history, literature, philosophy, music, or art. This is a practice-based humanities course with a research and design component. Students work individually or collaboratively on projects such as history websites, video essays, set designs or promotional materials for plays or operas.

Course number: HSOC-296
Prerequisite: n/a

Libraries, archives, museums, the great repositories of the human past, make available sources that have enhanced how we learn subjects and make things. The vast digital collections on the Web have transformed the way we study the past achievements of humans, whether history, literature, philosophy, music, or art. In this course, students will learn the basic skills of researching a digital humanities project. These projects may include history exhibits; documentary videos; scenic designs for a play or opera; maps or models of fictional worlds. Students can choose to work individually, or collaboratively on small project teams.

Course number: HCRT-266
Prerequisite: n/a

Libraries, archives, museums, the great repositories of the human past, make available sources that have enhanced how we learn subjects and make things. The vast digital collections on the Web have transformed the way we study the past achievements of humans, whether history, literature, philosophy, music, or art. In this course, students will learn the basic skills of researching a digital humanities project. These projects may include history exhibits; documentary videos; scenic designs for a play or opera; maps or models of fictional worlds. Students can choose to work individually, or collaboratively on small project teams.

Course number: HSOC-266
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-CS10A
Prerequisite: n/a

This course will provide students with the opportunity to collaborate with INSEAD MBA students and be taught by INSEAD faculty and industry experts while they work on the development, testing and management of a digital product. This course will give you an overview of how to become an effective product manager of digital products. During the INSEAD portion, designers with work with 4-5 MBA students, developing and testing a digital product concept. MBAs are expected to have a hands-on role in all stages of the project and the designers will be both coaches and active participants. ACCD participants be collaborating with INSEAD students in various time zones. In addition to the synchronous INSEAD component, the course will include an ACCD IxD mini course to prepare for the INSEAD project. The first half of the term will focus on fundamentals of Interaction Design with an emphasis on methods relevant to collaborating with Product Managers in a business context. At the midterm, each project team will present an overview of their Minimum Viable Product (MVP), business strategy, product features and functionality, and present interactive demos of primary features of the MVP for a product redesign project. Registration by application only. Please contact Study Away Department for details.

Course number: HBUS-330
Prerequisite: n/a

About 15% of the world's people are disabled. This statistic is more complicated than it seems, because it is determined by various bodily, societal, and cultural perceptions. What is design's role, then, in defining and responding to disability? For decades, disabled people have claimed that the social edifice-from beliefs to design standards-causes disability, not bodies. An important position for designers to consider, this course traces the curvature of such discourses and applies them to creative practice. Students will think, sketch, play, and iterate ways to make the worlds of architecture, objects, interfaces, communications, and more, access-centered. A final assignment channels course learnings into an interdisciplinary design project that extends what disability design means and can do in our current moment.

Course number: HSOC-385
Prerequisite: n/a

Documentary Film is a survey of non-fiction films, most from this century, but all reflecting on concerns left over from the previous one. The topics addressed include the way people work, resist oppression, and invent culture; and, most importantly, how they have persistently envisioned utopia, often with results at variance with their intentions. Spectators and critics have at times declared the practice of making documentaries perverse or meaningless, yet these films continue to have popular appeal; indeed, the public's appetite for them only seems to grow as the notion of non-fiction itself threatens to be evacuated by advances in computer graphics, public relations, and cosmetic surgery. The genre has attracted filmmakers interested in everything from exploitation to edification; what their works have in common is a relationship to life as it is lived. Students curious about how our society came to be how it is today will find some answers in recent documentary films.

Course number: HNAR-344
Prerequisite: n/a

Course number: HWRI-ESL
Prerequisite: n/a

This creative writing course is built on the conception that writing is a form of action. An overview of the environmental movement, its philosophical positions such as Deep Ecology, Ecofeminism, Social Ecology and Eco-Marxism, Environmental Apocalypticism, and Gaia, will be explored through literature, art, and corresponding ecocriticism. We will begin our study with early twentieth century ideal 'pastoral' ecology and old wilderness writing, moving on to the postcolonial spectrum of eco literature as well as contemporary works of eco art. Special emphasis will be paid to hybridity and the cross culturation of cyborgs, queer and feral animals. Through immersion in these works, we will become more effective advocates in the American nature writing tradition and beyond: the ramble, poetry, manifesto, lyrics, fiction and the contemporary "eco art" proposal. Student work will be reviewed in peer groups and culminate in final short in-class presentations. Field trips and guest lectures will include local artists, musicians and writers. In the words of Henry David Thoreau, "Let your life be a counter friction to stop the machine."

Course number: HNAR-381
Prerequisite: n/a

Ecofeminism is a theoretical, academic, and activist movement that locates critical connections between gender oppression and the exploitation of natural resources. It developed throughout the early 1980s from the environmental, anti-nuclear, and feminist movements; in addition to its primary concerns around the subordination of nature and women, ecofeminism sought to resist racism, homophobia, and the capitalist patriarchy. Through key texts and art works, this course examines the development of ecofeminism as an artistic position from the late 1970s to today. Topic include intersectional environmentalism, frontier masculinity, witchcraft, Land Art, site-specificity, the Anthropocene, and science fiction, among others.

Course number: HHIS-426A
Prerequisite: n/a

This poetry workshop will undertake the constraint of EKPHRASIS: the poem of dialogue between visual art or image and word. We will encounter together current and relevant imagery and also meet at or visit museums in the area to engage with images. We will workshop them in class and complete a small portfolio of work. This course is a writing class that will use various models of poetry as platforms for possible excursions into written projects. We will explore the possibilities by engaging with images and then engaging with the work in a workshop community. With each writing assignment there will be a reading assignment that either exemplifies the "problem" or presents some type of conceptual framework for it.

Course number: HNAR-367
Prerequisite: n/a

This course explores our relationship to water, and how access to this vital resource shapes our cities, societies, cultures and imaginations. It is structured as a collaborative workshop combining field work, interdisciplinary research and creative speculation. To ground our inquiry we will tour several hydro-infrastructure sites where local sources of water are controlled and/or where more distant supplies are collected, treated and delivered to our taps. Presentations and background readings will unpack these sites in relation to counter-models and creative expressions drawn from other times, places and cultures, all with an eye toward revealing the embedded assumptions, entrenched interests, social implications and aesthetic dimensions of our current water supply. No prior experience or background is assumed, and all majors are welcome in this multi-disciplinary space: we will learn key analytic concepts from natural history, geography and sociology, and also use lenses from film, science-fiction and environmental literature to imagine alternate ecologies. Participants with prior water-related research interests are invited to use the workshop as a forum for adding depth and complexity to their investigations. Cumulative projects will emphasize independent and/or collaborative research based in student interests. Conjectural propositions and other experimental means of re-imagining linkages between natural history, urban development, and hinterland networks will be encouraged.

Course number: HCRT-272
Prerequisite: n/a

This course explores our relationship to water, and how access to this vital resource shapes our cities, societies, cultures and imaginations. It is structured as a collaborative workshop combining field work, interdisciplinary research and creative speculation. To ground our inquiry we will tour several hydro-infrastructure sites where local sources of water are controlled and/or where more distant supplies are collected, treated and delivered to our taps. Presentations and background readings will unpack these sites in relation to counter-models and creative expressions drawn from other times, places and cultures, all with an eye toward revealing the embedded assumptions, entrenched interests, social implications and aesthetic dimensions of our current water supply. No prior experience or background is assumed, and all majors are welcome in this multi-disciplinary space: we will learn key analytic concepts from natural history, geography and sociology, and also use lenses from film, science-fiction and environmental literature to imagine alternate ecologies. Participants with prior water-related research interests are invited to use the workshop as a forum for adding depth and complexity to their investigations. Cumulative projects will emphasize independent and/or collaborative research based in student interests. Conjectural propositions and other experimental means of re-imagining linkages between natural history, urban development, and hinterland networks will be encouraged.

Course number: HSOC-272
Prerequisite: n/a

This is a technology-oriented project workshop, specializing in Arduino electronics and programming. It is open to all students who need assistance in constructing a functioning prototype or proof of concept. The main goal is to enable the student to design and assemble their own prototypes in the future. No appointments necessary; walk in basis.

Course number: HHUM-004
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-L102
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-130A
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-L106A
Prerequisite: n/a

This course is a workshop-style course founded on language acquisition across the four domains of language (listening, speaking, reading, and writing) and on the fundamentals of academic language to prepare students who are continuing their development of English for college-level writing courses at ArtCenter. English Language - Developing (EL -Developing) follows the English Language - Emerging (EL - Emerging) course in sequence. This course continues to address the development of college vocabulary, reading comprehension, and grammar for academic writing building from fluency in the four types of sentences (simple to compound-complex) and extending to an understanding of the writing process to construct paragraphs and short, academic papers. The overall goal is to enable students to express complex ideas about art and design with clarity and precision utilizing all four language domains-listening, speaking, reading, and writing. However, more emphasis is given to speaking (oral presentations) and writing (academic papers) in this course.

Course number: HWRI-050
Prerequisite: n/a

This course is a workshop-style course founded on language acquisition across the four domains of language (listening, speaking, reading, and writing) and on the fundamentals of academic English to prepare English-emergent students for college-level writing courses at ArtCenter. English Language - Emerging (EL - Emerging) covers development of college vocabulary, reading comprehension, and grammar for academic writing-from the basics of parts of speech to fluency in the four types of sentences (simple to compound-complex). The course also includes instruction in oral communication (e.g., Visual Thinking Strategies [VTS]) in order to develop confidence in speaking, individuality in perception, and objectivity in discussion. The overall goal is to enable students to express complex ideas about art and design with clarity and precision utilizing all four language domains-listening, speaking, reading, and writing.

Course number: HWRI-040
Prerequisite: n/a

This class will immerse students in spoken and written English communication skills needed for success as a student at ArtCenter. An alignment with design classes taught in tandem promotes student understanding of design vocabulary, presentation skills and the practice of critique. In addition to building confidence and ability, this class will also support preparation for the writing placement test used to place first term students in a writing class for Fall semester.

Course number: HWRI-045
Prerequisite: n/a

Entrepreneur Studio: Jump-Start Your Business Are you an entrepreneur? Would you like to start your own business when you graduate? This advanced seminar style course prepares students to launch a business, project, consulting firm, or product. Students will gain the business know-how and skills to present to an incubator, prepare for a crowd funding campaign, apply for loans, or pitch to angel investors, licensees or partners. Using the lean start-up method taught in the class students can further develop a project started in another class or create a new project from scratch. Students will be taught to create a business model, a rollout strategy, and cash flow analysis to develop a plan to scale a business or project over time. If appropriate to the project intellectual property applications will be developed. Individual and team projects are both encouraged. The basics of entrepreneurship covered in Intro to entrepreneurship, Business of licensing- Start-up 101, or In the trenches is required as a prerequisite, or special permission from the professor through an application process. Professor Krystina Castella has helped many Art Center students, alumni and creative professionals establish their businesses across disciplines over her 25 years of teaching entrepreneurship. This course offers the opportunity to work with her on your own personalized action plan for your business. Application process for students without prerequisite: -1 page description of the project and what the student hopes to accomplish in the class. -Bio and resume. -Recommendation letter from faculty member

Course number: HENT-306
Prerequisite: n/a

An entrepreneur is a true innovator, someone who recognizes opportunities and organizes the resources needed to take advantage of them. Henry Kaiser, the steel and automotive magnate, said that entrepreneurs "Find a need and fill it." Entrepreneurship is about hard work, reducing risk, and promoting a simple solution. Entrepreneurs have a "prove it" attitude and pursue a complete understanding of how their product works. Entrepreneurs leave nothing to chance.

Course number: HENT-300
Prerequisite: n/a

THEME/CONTENT The goal of ECamp is to provide an immersive collaborative experience in entrepreneurship. Up to 10 ArtCenter and 10 CSUN undergrads, in various majors, will come together to participate and learn how to develop a viable pitch of a business idea to groups that can actually fund these businesses. The United Nations Millennium Goals (http://www.un.org/millenniumgoals/) have informed ECamp's choice of the theme: Smart Cities: Eradicate Hunger. Students will form teams to create a business that develops a product to end hunger in Los Angeles and then pitch this concept in a Shark Tank-like setting to real investors and city officials. To support this, students will have workshops, lectures, in-class exercises and case study speakers on Branding, Marketing, Economics, Design, Professional Practice and Entrepreneurship.

Course number: HENT-307A
Prerequisite: n/a

THEME/CONTENT The goal of ECamp is to provide an immersive collaborative experience in entrepreneurship. Up to 10 ArtCenter and 10 CSUN undergrads, in various majors, will come together to participate and learn how to develop a viable pitch of a business idea to groups that can actually fund these businesses. The United Nations Millennium Goals (http://www.un.org/millenniumgoals/) have informed ECamp's choice of the theme: Smart Cities: Eradicate Hunger. Students will form teams to create a business that develops a product to end hunger in Los Angeles and then pitch this concept in a Shark Tank-like setting to real investors and city officials. To support this, students will have workshops, lectures, in-class exercises and case study speakers on Branding, Marketing, Economics, Design, Professional Practice and Entrepreneurship.

Course number: HENT-307B
Prerequisite: n/a

This course explores the impact of overpopulation, urbanization, pollution, politics, and environmental activism on the land, oceans, and atmosphere. Such topics as endangered species, biodiversity, overpopulation, animal rights, deforestation, desertification, toxic waste, global warming, ozone depletion, wetlands destruction, oceanic threats, and overgrazing will be covered. Students will be better informed to interpret complex environmental issues and apply them to their work and daily lives. They will be better prepared to have their work, either design or fine art, reflect the urgent nature of global concerns. They will also be introduced to the idea of science as the foundation of the realities facing our world today.

Course number: HSCI-221
Prerequisite: n/a

This course explores the impact of overpopulation, urbanization, pollution, politics, and environmental activism on the land, oceans, and atmosphere. Such topics as endangered species, biodiversity, overpopulation, animal rights, deforestation, desertification, toxic waste, global warming, ozone depletion, wetlands destruction, oceanic threats, and overgrazing will be covered. Students will be better informed to interpret complex environmental issues and apply them to their work and daily lives. They will be better prepared to have their work, either design or fine art, reflect the urgent nature of global concerns. They will also be introduced to the idea of science as the foundation of the realities facing our world today.

Course number: HSOC-282
Prerequisite: n/a

The "Experimental Humanities," (sometimes called the Digital Humanities), refers to new ways that Humanities scholars do their research by incorporating digital and design approaches. Since the advent of digital computing, experimentation-minded literary scholars, historians, and social scientists now work with big data, visualizations, critical making, and more to find meaning in cultural materials. This course will provide an introduction to the experimental humanities by giving students hands-on experience with interpretative methods such as distant reading, multi-modal scholarship, and text analysis. The online course is taught in the networked medium of the experimental humanities itself: the internet.?

Course number: HSOC-316
Prerequisite: n/a

The "Experimental Humanities," (sometimes called the Digital Humanities), refers to new ways that Humanities scholars do their research by incorporating digital and design approaches. Since the advent of digital computing, experimentation-minded literary scholars, historians, and social scientists now work with big data, visualizations, critical making, and more to find meaning in cultural materials. This course will provide an introduction to the experimental humanities by giving students hands-on experience with interpretative methods such as distant reading, multi-modal scholarship, and text analysis. The online course is taught in the networked medium of the experimental humanities itself: the internet.?

Course number: HCRT-316
Prerequisite: n/a

Course Format: Workshop/ Independent Study This workshop is a joint mathematics-atelier. It is a specialized exploration in higher mathematics and theoretical physics, which allows students to pursue selected topics in advanced mathematics and physics to enhance their portfolio compendium. We will conceptually study Cantorian infinity, group theory, algebraic and geometric topology, black holes, string theory, and hologram theory, the richest, most exciting current research areas. The workshop is focused on the inclusive intersections of creativity and mathematics; an 'Alice in Mathematics Land' journey. The grading rubric consists of weekly studio projects, one directed cumulative midterm and one directed cumulative final project.

Course number: HSCI-301A
Prerequisite: n/a

This class will survey the history and significance of fanfic from the early 1990's to the present. We will examine a range of cultures and practices. Through charting the discourses of pathology and empowerment that circulate around the cultural conception of the "fan," we will consider contemporary debates around fan labor and the commodification of fan culture. In addition to critically analyzing fans' transformative works, students will mobilize course concepts to produce and theorize fan texts of their own.

Course number: HNAR-326
Prerequisite: n/a

Fashion is a way of thinking and doing that impacts all aspects of our lives and is an integral part of all areas of design and media. This class explores fashion concepts and the principles of style through three different cultural case studies -- Japanese esthetic philosophies, materials, and social narratives as represented through fashion culture from the history of the kimono and is design influence, to contemporary innovators Issey Miyake, and Eri Matsui and their engagement with technology, mathematics and architecture. Black style and its meanings, impact and influence, cultural esthetics and values, social and political narratives, and fahsion icons from Church women to the Black Panthers, Diana Ross to Michelle Obama. Fashion in entertainment and media culture -- how personal style defines and expresses character and establishes cultural contexts in movies, television, music and dance, and how it influences fashion. Students will participate in research, presentation, and collaborative and individual fashion projects, as well as critique and discussion.

Course number: HSOC-320
Prerequisite: n/a

This course is an examination of films and documentaries that attempt to depict and reveal 20th and 21st fashion designers and the impact they have on our times. The collection of films the course will study will be a nonlinear promenade through design histories revealing the predicaments that face contemporary society and their implications of identity amidst globalization. The course will explore the trials film faces depicting fashion questioning what typecasts may emerge or what advantageous information is revealed. Films curated for the course vary from new world fashion, to popular movements and films that set trends, to first collections at the helm of major fashion houses, to tongue-in-cheek mockery of the fashion industry all realizing vital design production needs and developments. The zoom remote course will be presented through lectures, screenings by stream, readings, discussions, and research writing assignments. This course provides that students will analyze the distinctive traits of film that can or cannot communicate the complications and details of design. This course introduces students to the necessities of film analysis and helps students develop the skills to recognize, analyze, and describe film and design themes investigated by the course.

Course number: HNAR-348
Prerequisite: n/a

Fashion is inherently political. We see this from the way our clothing produces social signals to the way it is bought, sold, worn and made. Clothes sit at the threshold between self and other, as such, they have often been a site for political resistance and utopian experimentation. Just as often, our clothes divide us, enforcing race, class and gender hierarchies. In this class, we will discuss texts by fashion designers, artists and theorists, tracing a history of fashion and revolution. Starting with the rise of the garment industry, we will trace a path to the present moment. Topics include the relationship between fashion, race and protest, feminist and queer histories of dress, cyborgs, prosthetics, labor and environmental collapse. Together, we will engage in a collective reimagining of our relationship to dress, and by extension, the world. ?

Course number: HCRT-335
Prerequisite: n/a

Introductory course providing a review of fashion as a cultural industry, examining the production systems and commercial institutions that comprise the contemporary global fashion industry. Students will learn about fashion through scholarly writing, magazine articles, podcasts and documentaries. This course aims to introduce students to different perspectives on fashion, from a wide scope of media sources. Students will work on a research project analyzing a particular aspect of fashion, synthesizing primary sources and scholarly perspectives.

Course number: HHIS-354
Prerequisite: n/a

This course will introduce students to methods for incorporating cultural immersion and social engagement into the creative process, with a focus on the diverse communities of Los Angeles. We will examine how researching and making within real-world urban contexts can inspire creative interventions, foster cross-cultural dialogue, and expose students to unofficial knowledges and alternative ways of learning. Participating students will create and conduct their own locally based research projects that explore opportunities for active engagement with the social, political, and cultural landscapes of our city.

Course number: HSOC-303
Prerequisite: n/a

A Study of Modernity and Its Discontents. This course is an auteur study in which we consider Antonioni's challenges to traditional approaches to storytelling, cinema, and realism in favor of intellectual contemplation and political thoughtfulness. Starting with his earlier neo-realist films, the course will move throughout his 45-year career to consider his use of action, image, radical narrative, disconnected events, experimental color, and documentary.

Course number: HNAR-338
Prerequisite: n/a

This course is not a production film class, but a course that composites possibilities of how to view and interpret an Alfred Hitchcock film, (or a film/sign), alongside an immense history of theoretical and critical writings. The course examines authorship, spectatorship, and identity together with other issues of reflexive film, and film's relationship to issues in painting, theatre, architecture, opera, music and sound, and literature. We view and research Hitchcock?s films by the use of multiple lenses including an expressionist's lens, a surrealist lens/or a psychoanalytical lens, a surveillance/voyeur lens, a semiotic lens, supported by readings by Raymond Bellour, Jacques Lacan, Slavoj Zizek, Gilles Delueze, William Rothman, Leland Pougue, Fredric Jameson and others. The course also examines the political and social atmospheres of the times in which the films were made, and identifies the filmographies' affect/effect, its pop cultural manifestation and influence. In connection, the course explores Hitchcock's universal themes, clarifies Hitchcockian space, suspense, objects and the use of the McGuffin, and distinguishes his use of Hamlet persuaded theatre. Starting with the Pleasure Garden in 1927 and ending with Family Plot in 1976, the director made 59 full-length films and scores of television 1/2 hours plots that locate characters in a fear constructed social system.

Course number: HNAR-343
Prerequisite: n/a

This academic course considers methodically the seminal work of Chris Marker, the French photographer, writer and documentary filmmaker who combines journalistic montages of historical events into cultural contexts that disclose socioeconomic political history. Marker's at times collaborator Alain Resnais, also of the French New Wave of the Left Bank Film Movement once called Marker "the prototype of the twenty-first-century man." The course will examine Chris Marker's works, focusing on his filmography to include A Grin Without a Cat 1977, Sans Soleil, 1982 and La Jetée, 1962- 66, the evocative science-fiction fable told in still photographs. The course will move onto to reveal Marker's later works to include the review of his multi-media works done for the Museum of Modern Art in New York City entitled Immemorial (1998, 2008) and an interactive multimedia CD-ROM produced for the Centre Pompidou. Considerations of how Marker's work is being examined today will also be topical for study. Marker's astonishingly diverse career that spans more than 50 years to include writing, photography, filmmaking, videography, gallery installation, television and digital multimedia will be examined to reveal how the exceptional works probe memory, cultural memory, history and the complications and paradoxes of new electronic media technologies.

Course number: HNAR-346
Prerequisite: n/a

This academic course probes meticulously the social, economic, political and naturalistic cinema of the Belgium brothers Luc and Jean-Pierre Dardenne. The Dardenne Brothers, writers, directors and producers have created a notable body of work to include documentary works and their narrative poetic realism. This courses fits into the analysis of cinema in the tradition of auteur study. That being a very important structure to study theoretical and formal issues of cinema via the chronological analysis of a body of work to observe and consider how a body of work takes place over a long period of time and to observe how its text influences and parallels history. The course will investigate The Dardenne Brothers magnum opus to include Rosetta, 1999, The Son, 2002 and several of their documentary works that come prior to their notable success in their narrative work. Issues of work, European economics along with political oversight of the individual immersed in social structures will be studied as they reveal themselves through the brother's cinematic form and language. The course will draw from issues in the ethics of structuring the documentary and its boundaries that lead such attempts at realism to confront or be uttered forth with visual poetics.

Course number: HNAR-345
Prerequisite: n/a

This course is an in-depth auteur study of one of the most influential filmmakers of the Nouvelle Vogue or French New Wave and his influence on art, cinema, and critical thinking since his career began to the present day. Topics include Godard's defiance of the conventions of Hollywood, his radical and unambiguously political understanding of film history, his economic and cultural views, his scholarly interpretations of philosophy and cinema, his participation in film studies and film theory, and his thought-provoking associations between painting, poetry, and cinema.

Course number: HNAR-332
Prerequisite: n/a

This course is a comprehensive study of Italian Neo Realism: cinema's power to obsess and to convey the socio-economic, psychological, and political realities of the post WWII era, as well as its influence on new cinema and cultural politics. Visconti's influence on world cinema remains a major voice in style and rhetoric, as it influenced the work of Godard, Fassbinder, Scorsese, and countless others.

Course number: HNAR-333
Prerequisite: n/a

This course is an auteur study of the films of Michael Haneke, one of the most important directors working in Europe today. The course will consider and debate the world view of Haneke's films that frequently interrogate prevailing contemporary ethical dilemmas with precise transparency and uncompromising observation. The course will reflect on why Hollywood in its monolithic denotation does not know how to interpret and consider these films, yet, film history, criticism and reputable film juries across the world esteem this work with their highest honors. Topics that the course will cover include the misfortunes and barren nihilism that Haneke's political and philosophical considerations will be examined. A chronological selection of films will be viewed representing categories and interests that concern Haneke's themes. Discussions, readings and research papers are organized to develop the student's interests in visual culture alongside their own developing visual production.

Course number: HNAR-339
Prerequisite: n/a

An in-depth look at the films of Ranier Fassbinder: director, screenwriter, actor, and one of the most important figures in New German Cinema.

Course number: HNAR-334
Prerequisite: n/a

Comprehensive study of the social, economic, political and formal complex cinema of Robert Bresson. Analysis of cinema in the tradition of auteur study.

Course number: HNAR-342
Prerequisite: n/a

This course examines the vast maze of social, political, and psychological subjects Kubrick's films tour within their stylistic and conceptual density. We will track recurrences and parallels between films, focusing on their historical and theoretical subtext, in order to clarify the nature of his cinematic universe.

Course number: HNAR-336
Prerequisite: n/a

This course is an auteur study of the films of Woody Allen focusing on his strong background in writing with broad and heavy dialogues set in film learning environments. The course will investigate writing and its translations and interpretations into film environments circling the political, social and psychological meanderings of the last 60 years. Nihilism, cynicism, sarcasm and jokes, how are they intertwined with our observations as individuals facing our complicated worlds. The course will outline and discuss comedic structures used in film as seen in this filmogrpahy but will circumference historical comedic structures. A chronological selection of films will be viewed representing categories and interests that parallel Allen's film history. Discussions, readings and research papers are organized to develop the students interests in visual culture and understanding their involvement in their world with their own cultural production.

Course number: HNAR-347
Prerequisite: n/a

"This brand sponsored, footwear industry, study-away intensive has two main components: (1) three successive 2-week footwear design assignments targeting Nike, Adidas and UnderArmour and (2) two 1-week business courses at Portland State University Business School with their students. 1. Each 2-week design project will have recent ACCD alumni from these three footwear brands reviewing the students' work each evening leading to final presentations for each brand. 2. The two business courses at PSU are part of PSU's summer Athletic & Outdoor program that will expose our students to footwear business practices and interaction with footwear business students and guest lecturers from the footwear business outside of design. The courses will cover business competitive dynamics and product briefing. The PSU product briefing course I teach will have the students from both programs cooperate on a footwear product brief and resultant product ideation."

Course number: HSAP-804A
Prerequisite: n/a

"This brand sponsored, footwear industry, study-away intensive has two main components: (1) three successive 2-week footwear design assignments targeting Nike, Adidas and UnderArmour and (2) two 1-week business courses at Portland State University Business School with their students. 1. Each 2-week design project will have recent ACCD alumni from these three footwear brands reviewing the students' work each evening leading to final presentations for each brand. 2. The two business courses at PSU are part of PSU's summer Athletic & Outdoor program that will expose our students to footwear business practices and interaction with footwear business students and guest lecturers from the footwear business outside of design. The courses will cover business competitive dynamics and product briefing. The PSU product briefing course I teach will have the students from both programs cooperate on a footwear product brief and resultant product ideation."

Course number: HSAP-804B
Prerequisite: n/a

French Basic: A Primer Through Literature and Design is a fun, twelve-week project-based course, which explores pioneers in the art and design world while teaching basic conversational and written French. Through examples of the works of Sophie Calle, the OULIPO movement, to name a few, students will learn how to decipher, then bring to life the French language as art, and art as language.

Course number: HHUM-104
Prerequisite: n/a

Real-life design challenge in a university setting on the topic of future craft China. Tongji and ArtCenter student will co-create with communities to design products and systems that revitalize craft traditions, support the next generation of migrants, and generate urban-rural synergies. Proposed Learning Outcome: Students will gain real-world experience to tackle current design challenges in an international cosmopolitan setting with networking opportunities for internships and future employment.

Course number: HSCI-804A
Prerequisite: n/a

Real-life design challenge in a university setting on the topic of future craft China. Tongji and ArtCenter student will co-create with communities to design products and systems that revitalize craft traditions, support the next generation of migrants, and generate urban-rural synergies. Proposed Learning Outcome: Students will gain real-world experience to tackle current design challenges in an international cosmopolitan setting with networking opportunities for internships and future employment.

Course number: HSCI-804B
Prerequisite: n/a

The future isn't just something that happens but something that can and should be shaped by people with vision; choosing the correct path cannot be left entirely to the scientists and technologists, nor to politicians and entrepreneurs. This class will focus on understanding the basic science behind the upcoming revolutions in bio-technology, artificial intelligence, and quantum science, and on engaging students in developing a shared vision of a desirable future. Topics will include: robotics and artificial intelligence; quantum, nano, and bio-technology; future energy sources; and mankind's possible future in space. The range of problems that our society will face in coming years will be discussed, with particular emphasis on the science behind issues such as global warming. Ethical dilemmas posed by technology will also be explored.

Course number: HSCI-216
Prerequisite: n/a

This TDS will explore the "Future of Sports" in Berlin - a city that has a significant history in sporting events and a culture that continually redefines what sport means to its individuals and the community. The project will be sponsored by Adidas and Canyon Bikes with potential other sponsors. Topics to be explored include: future concepts in footwear, apparel, equipment, branded events and retail, digital interaction, etc. that will redefine the future performance and participation in sports. The project will leverage the immersion into the Berlin culture and interacting with local experts, sponsors and designers. Available to fifth term and above students by application. Experience working in trans-disciplinary teams. Immersion into the unique Berlin culture to inspire project direction. Conceptual development of future-forward vision-casting ideas. Interacting with professionals from sponsoring organizations.

Course number: HSOC-802A
Prerequisite: n/a

Should the design of spaces modify our social behavior? Can lighting and ceiling height really impact our mood? We entertain these and other questions in Intersections - a course that introduces you to the concept and practice of using cognitive science to cultivate a spatial design mindset. The overarching goal of the course is to introduce students to the design possibilities and benefits of acting on a unified theory of architectural / spatial design that recognizes the value of added cognitive science research. Throughout the term, we take a cross-sector perspective and focus on the spatial research and theories developed by contemporary architects and neuroscientists. We will fine tune our questions by looking at remarkable, spatial projects made possible through partnerships of architects, spatial designers and cognitive neuroscientists. These projects show us how a collaboration between designer and scientist can disrupt current spatial psychology and invigorate user research for spatial design and spatial justice. Students will have a chance to conduct and present independent and collaborative user research into a topic of spatial psychology and spatial justice that is informed by cognitive science. By the end of the term, members of the course will have solved a mystery and be able to show evidence of how spatial design impacts how we live, work, play and heal.

Course number: HSCI-332
Prerequisite: n/a

This course will find students (alongside their instructor) grappling with human desire and creativity in the individual quest for friendship, sex, power, and love. Through reading, writing, discussion, and artmaking, we'll tackle important, if potentially uncomfortable issues surrounding childhood sexuality, intersexuality, perversion, pornography, prostitution, casual sex, acquaintance rape, dating, and marriage-and the ethical concerns to which these issues inevitably give rise. As an undergraduate philosophy seminar, we'll generally raise difficult questions rather than accept stock answers. Throughout, we'll try to maintain our composure even when a little vulnerability is called for and the facts are in dispute. The only prerequisites are an open mind and an interest in self-exploration.

Course number: HCRT-201
Prerequisite: n/a

Much of today's popular storytelling is informed by genre conventions that originated in literature more than 100 years ago, specifically (and chronologically) in Gothic, Detective, and Sci-Fi novels and short stories. Understanding the "language" of these genres makes us more fluent and adept contemporary storytellers, and can inspire us to innovate, to create something new. This class will define, track, and evaluate conventions in these genres through to the present day, attending especially to texts that combine tropes from more than one kind of story. Students will generate critical and creative responses to the material covered in class.

Course number: HNAR-313
Prerequisite: n/a

In this literature class, we'll look at "girl heroes" from Antigone to Buffy Vampire Slayer, looking at what shapes our heroines, and how creators fall in line or challenge what mass culture tolerates in powerful women. Texts will be selections of literature (The Metamorphoses, Antigone, The Hunger Games, The Power), and media (Buffy, Miss Americana, Charlie's Angels etc.), and also critical essays by Carina Chocano, and Emily Naussbaum, among others.

Course number: HNAR-304
Prerequisite: n/a

This course surveys international artistic developments in relation to cultural debates and theoretical frameworks that have structured the discourse of contemporary art post-1980. For each class a selection of pivotal artworks and/or exhibitions related to a specific problematic will be examined alongside a variety of texts, ranging from artists' writings, critical theory, to art criticism. Organized more thematically than chronologically, the course will analyze theorizations of postmodernism as well as issues regarding the critique of representation, identity politics, postcolonialism, globalization, the expanding art market, and the growth of contemporary art institutions during the last decades of the 20th century and into the 21st.

Course number: HHIS-325
Prerequisite: n/a

By the mid-1990s, epidemics had seeped both into the cultural consciousness and public discourse. Since then, outbreak narratives have continued to resonate with changing anxieties in the American cultural and social fabric. This course will focus on American films and TV shows from the mid-1990s to the present that depict the three main types of outbreak narratives: The Globalization Outbreak includes those (like Contagion and Outbreak) that focus on the repercussions of globalization and the ultimate failure of national boundaries to protect; The Terrorist Outbreak includes those (like 24 and 12 Monkeys) centered around the threat of bio-terrorism; The Post-Apocalypse Outbreak includes those (like World War Z and The Walking Dead) that explore what happens after the virus has decimated populations. This section will also continue a discussion of the contemporary zombie figure.

Course number: HNAR-380
Prerequisite: n/a

In this course, English Language Learners develop proficiency in English Language reading, speaking, and writing as it relates to graduate level discourse and critique.

Course number: HWRI-511
Prerequisite: n/a

This is a general writing advising workshop for graduate students seeking help with their writing. No enrollment required. Check with your department for advising workshop office hours.

Course number: HHUM-005
Prerequisite: n/a

This course traces the development of visual communication from the first evidence of human image-making through the mid 20th century, including the evolution of letterform design from the earliest pictograms into the Middle Ages and through the Industrial Revolution. Social, scientific, and technological development are stressed as factors impacting the field. Through lectures, readings, and assigned essays, media presentations, and exams, students hone their ability to recognize conceptual and stylistic trends from the past and how they communicated ideas in the service of education, political messaging, business/commerce, and arts and culture. This knowledge will help students solve problems in today's studio graphics classes and clarify the current influence of graphic design on how society thinks about itself and the products it consumes, plus the role of visual communications in politics.

Course number: HHIS-240
Prerequisite: n/a

This course presents a critical examination of issues, theories, and practices relevant to contemporary professional graphic communication, with an emphasis on design creativity and progress as rooted in artistic, cultural, political, economic, and technological contexts. The class picks up from Graphic Design History 1 at the mid-century Modernist era, examining an eclectic diversity of significant individuals and groups up to the present. Topics of discussion include Postmodernism, new media, and design ethics.

Course number: HHIS-340
Prerequisite: n/a

A course in which we examine the application of comics language to represent facts, information, "the truth." This class 1) engages participants in a model research process and 2) develops visual and other literacies by immersing us in a medium uniquely suited to offer a meaningful view into, and connection with, other peoples' interests, histories, perspectives, and lives. Broad topics include Memoir, Autobiography, Biography; Journalism & Reportage; and Histories, Philosophies, Misc. Facts & Figures. Students will read comics/graphic novels and some theory, lead and engage in discussion of these texts, and make at least one "true comic" of their own during the term.

Course number: HNAR-222
Prerequisite: n/a

Whether your interests lie in narrative, in archetype, in religion, in social and political organization, or in the development of "Western" ethics and mores, the collection of works that contain what we think of as mythology are indispensable resources to understanding some of the base material from which emerged European/American civilization. In this course we will read some of the major works of Greek and Roman "mythological" writing, as well as look into the historical contexts that helped to create the stories that continue to vibrate in the imaginations of we who are almost 3,000 years removed from the oldest of the texts.

Course number: HNAR-320
Prerequisite: n/a

Course number: HBPP-496
Prerequisite: n/a

Course number: HBPP-396
Prerequisite: n/a

Course number: HSCI-496
Prerequisite: n/a

=HCRT-300 or HCRT-201 or HCRT-252 or HCRT-302 or HCRT-303

Course number: HCRT-300.PC
Prerequisite: n/a

Pseudo course block

Course number: HHIS-000.PC3
Prerequisite: n/a

Pseudo Coure Block

Course number: HHIS-110.PC3
Prerequisite: n/a

Pseudo Course Block

Course number: HHIS-110.PC4
Prerequisite: n/a

Pseudo course block

Course number: HHIS-200.PC
Prerequisite: n/a

Psuedo course block

Course number: HHIS-220.PC
Prerequisite: n/a

Pseudo course block

Course number: HHIS-220.PC1
Prerequisite: n/a

Pseudo course block

Course number: HHIS-222.PC
Prerequisite: n/a

Pseudo Course Block

Course number: HHIS-230.PC
Prerequisite: n/a

Pseudo course block

Course number: HHIS-250.PC
Prerequisite: n/a

Pseudo course block

Course number: HHIS-270.PC
Prerequisite: n/a

Psuedo course block

Course number: HHUM-000.PC3
Prerequisite: n/a

Psuedo course block

Course number: HSCI-150.PC3
Prerequisite: n/a

Psuedo course block

Course number: HSCI-000.PC3
Prerequisite: n/a

Pseudo course block

Course number: HSCI-000.PC1
Prerequisite: n/a

Pseudo Course Block

Course number: HSCI-281.PC
Prerequisite: n/a

Psuedo course block

Course number: HSOC-000.PC3
Prerequisite: n/a

Psuedo course block

Course number: HSOC-101.PC3
Prerequisite: n/a

Psuedo course block

Course number: HSOC-101.PC
Prerequisite: n/a

Psuedo course block

Course number: HHUM-001.PC3
Prerequisite: n/a

Psuedo Course Block

Course number: HHIS-254.PC3
Prerequisite: n/a

This course is an examination and overview of the histories of film comedy deliberating from its roots in ancient Greece and early vaudeville to the present day. The course will consider various comedic structures, traditions and periods, spanning Commedia Dell'Arte, burlesque, clowning, vaudeville, cabaret, silent film, slapstick, parody, anarchic comedy, black comedy, screwball, action, standup, television, sci-fi comedy, romantic comedy to present-day You-Tube, Tik-Tok and other online tendencies. Social, political and philosophical meanings and intentions will be considered. The zoom remote course will be presented through lectures, screenings by stream, readings, discussions, and research writing assignments. This course provides that students will analyze the distinctive traits of film comedy today within the broader context of cinema history and comedy history. This course introduces students to the essentials of film analysis, cinematic formal elements, genre, and narrative structure and helps students develop the skills to recognize, analyze, and describe film.

Course number: HNAR-353
Prerequisite: n/a

Interaction design and digital technology are changing the way humans relate to everything, from games to relationships to work. Designers of digital technology products no longer regard their job as designing a physical object--beautiful or utilitarian--but as designing our interactions with it. This class introduces the industry's history, from humans' first tools through the industrial revolution to computer-supported tools of interaction design. Charting the history of entrepreneurial design in technology, students will see how their own design process, focusing on people and prototypes, prepares them for emerging technologies, social change, and the future of human interactions.

Course number: HHIS-260
Prerequisite: n/a

This course will study the history and theory of architecture relevant to the production of 21st Century spatial and temporal scenography, urban design, building, gaming environment, media entertainment, and landscape practices. Through a survey of major movements in architecture, theater, media technology, and environmental design - from the ancients to postmodern and post-digital - we will study how the design and construction of our built and imagined environments evolves and advances contemporary society and world culture.

Course number: HHIS-212
Prerequisite: n/a

This course will explore the history of technology, considering new technologies as drivers of political and social change, while technological artifacts embody values and assumptions of the societies that produce them. Since technology is both fostered and influenced by socio-economic, legal, and political contexts, these, too, will be explored. How can we think about media technologies in a critical way? How can we understand the ways they impact society and drive social change? How do they reflect social values and divisions? After all, technology reflects and shapes our understanding of identity, time, class, gender, space, labor, and politics. By the end of the course, students should be able to understand the history of technological innovation, as well as various ways by which to assess the relationship between society, technology, and media.

Course number: HHIS-297
Prerequisite: n/a

Life in the 21st century (especially in Los Angeles) is increasingly dominated by a highly complex media world, whether this be visual representations, forms of labor and the demand to earn a living, the ecological impacts of media technologies, or surveillance, to name only a few aspects. One approach to making sense of this world is through the field of media studies and History & Theory of Media & Technology will ask students to consider what "medias" are and what they do, as well as to consider the connection between medias and socio-economic issues. In this course we will examine key concepts, texts, and art works in media studies, their historical and contemporary contexts, and in terms of their relationship to gender, sexuality, racialization, class, politics, economy, and ecology. By the end of the semester students will have a strong foundation in media studies and will be asked to do a final project that examines a key concept from the course and its social and artistic significance.

Course number: HHIS-314
Prerequisite: n/a

Life in the 21st century (especially in Los Angeles) is increasingly dominated by a highly complex media world, whether this be visual representations, forms of labor and the demand to earn a living, the ecological impacts of media technologies, or surveillance, to name only a few aspects. One approach to making sense of this world is through the field of media studies and History & Theory of Media & Technology will ask students to consider what "medias" are and what they do, as well as to consider the connection between medias and socio-economic issues. In this course we will examine key concepts, texts, and art works in media studies, their historical and contemporary contexts, and in terms of their relationship to gender, sexuality, racialization, class, politics, economy, and ecology. By the end of the semester students will have a strong foundation in media studies and will be asked to do a final project that examines a key concept from the course and its social and artistic significance.

Course number: HSOC-314
Prerequisite: n/a

This course explores the multifaceted nature of urban, public, and private spaces, paying special attention to the sociopolitical, cultural, and economic forces that shape our built environments. We will review a range of scholarship from various academic disciplines and intellectual spheres, but remain focused on the realm of design and particular design products that provide us with a framework to understand the context within which particular spatial and design outcomes are observed. Aiming to contextualize various phases of design and spatial strategies since the late 18th century, we will pay particular attention to the forces that "produce" space, recognizing that gender, culture, and the everyday life of cities must be considered and evaluated against various theoretical and ideological perspectives. Interior and exterior spaces, exhibits, entertainment spaces, bars, cafes, sites of collections (e.g., museums), and many other realms that define and are affected by design will be analyzed in order for us to understand, albeit in an ephemeral manner, the forces that shape what we call our spatial experience.

Course number: HHIS-390
Prerequisite: n/a

History and Theory of Space: Looking Back Rather than a survey course that focuses solely on the social production of space throughout history, this class examines the ways in which environmental designers and architects in the 19th and 20th centuries have looked backwards, borrowing from other traditions and appropriating the signs and aesthetic qualities from past cultures to produce spaces that became entirely emblematic of their own time. By using this analytical lens, students will both learn how space was conceptualized according to a given set of social, cultural, political and economic forces as well as the way in which these elements get examined and rewritten anew according to a new set of historical constructs. Layering our analysis in this way allows us to explore a greater breadth of work while probing the ways designers, through their work, have engaged in a dialogue across space and time.

Course number: HHIS-293
Prerequisite: n/a

This course offers students a historical and analytical review of global developments in the designed environment from the 18th to the 20th centuries. The course explores design philosophies and the relationship between varying scales of design, taking into account their cultural, geographic, industrial, technological, and sociopolitical contexts. It examines building materials, changing conditions of production, shifting concerns about the designed environment's social purpose, and representation.Through lectures, assignments, and discussions, students will gain an understanding of the different historic period and artistic characteristics of interior spaces, architecture, landscape, and urbanism.

Course number: HHIS-299
Prerequisite: n/a

Course number: HHIS-TRNSFR
Prerequisite: n/a

This class will survey the history and theory of entertainment with a special focus on film, television, fanfiction, cartoons, comics, games, the web, vr, ar, mxr as domains of representation and participation. Entertainment is understood as a cultural product with the primary goal to deliver a pleasurable experience to its audience analyzed within the broader artistic, social, political, economic, and technological contexts of many diverse cultures and eras. The first part of the course discusses entertainment from the perspective of media specificity, combining history and theory, from the perspective of technological innovation related to the pleasure of the audience. The course aims to draw larger arcs (lineages) connecting seemingly disparate phenomena in order to discuss and contextualize concepts such as storytelling, immersion, media convergence among others. The second part of the course discusses entertainment as embedded in complex socio-cultural, political and economic structures. The course examines the historical and cultural contexts of race, gender, and class and their influence upon and expression within the realm of entertainment. The class is meant to nurture a discursive and collaborative environment. Along with lecture modules, it largely builds upon the contributions of the students in the form of writing blog entries, short texts and produce media-rich reviews that mobilize course concepts.

Course number: HHIS-213
Prerequisite: n/a

This course is a critical survey of the history of American television, from the 1940s to the present. The course examines the interrelationships between programming and genre, business practices,social trends, and culture. While television programs will be surveyed in terms of chronology, this course examines them as cultural artifacts and industrial products that reflect such issues as class,consumerism, gender, desire, race, and national identity. Assigned texts and screenings will outline major historical trends and shifts,and consider programs and series in terms of cultural issues (issues of gender, race, ethnicity, sexuality), consumption patterns (how people have watch and engage with TV), as well as industrial practice (policy, regulation, business strategy). This course is designed to help develop a critical framework for understanding television as a cultural, economic,and political institution and to encourage students to become critically informed television viewers, media scholars, and media makers.

Course number: HSOC-235
Prerequisite: n/a

This course is a critical survey of the history of American television, from the 1940s to the present. The course examines the interrelationships between programming and genre, business practices,social trends, and culture. While television programs will be surveyed in terms of chronology, this course examines them as cultural artifacts and industrial products that reflect such issues as class,consumerism, gender, desire, race, and national identity. Assigned texts and screenings will outline major historical trends and shifts,and consider programs and series in terms of cultural issues (issues of gender, race, ethnicity, sexuality), consumption patterns (how people have watch and engage with TV), as well as industrial practice (policy, regulation, business strategy). This course is designed to help develop a critical framework for understanding television as a cultural, economic,and political institution and to encourage students to become critically informed television viewers, media scholars, and media makers.

Course number: HHIS-235
Prerequisite: n/a

Beginning with the Paleolithic and Neolithic periods and extending into the High Renaissance, we will examine the interrelationships between the production and consumption of art, and science and religion. How have the latter influenced the former? What roles have religious institutions and scientific discoveries had on artists and designers? How have artists and designers responded to the demands of religious institutions and the discoveries of scientists?

Course number: HHIS-220
Prerequisite: n/a

Students in the course will examine the diversity of artistic production (painting, sculpture, and architecture, among others) in Europe during the 15th to the late 19th centuries, a time of tremendous historical change. They will analyze the ideas and values encoded in the most significant works of art to arise from this period by considering the social, cultural, and political circumstances in which these objects were produced and understood. Students will explore not only how objects were shaped by the society in which they were made, but also how art contributed to social and political transformation. The required text will provide the chronological bearings, historical background, and images for the course.

Course number: HHIS-221
Prerequisite: n/a

Students will engage with the history of visual culture in the second half of the twentieth century, with an eye to how the conventions of artistic practice, its criticism, and its exhibition change during this era. We will consider a variety of media, including painting, photography, film, performance, sculpture, and installation, and will examine the shifting roles of each in the realm of contemporary culture. We will also investigate the changing significance of terms such as Modernism, avant-garde, and author within the social and cultural realm. We will remain focused on the always-changing political landscape over the past sixty years, including the trauma of one World War, the Cold War, the various liberation movements starting in the 1960s, the dissolution of the Communist Bloc, and the AIDS crisis, in addition to the ever-growing late-capitalist globalization we continue to experience today.

Course number: HHIS-222
Prerequisite: n/a

This course will examine the history, evolution and significance of automobile design around the world. We will work roughly chronologically forward, focusing on two particular aspects of design. The first area of focus will be designers who were responsible for the development of individual marques and models over the decades and the traditions in which they were working (or breaking away from). Secondly, we will focus the history and evolution of particular internal and external design elements of cars themselves (dials, gauges, bodywork, colors, shapes, glasswork, etc.). An essential emphasis will be placing this design work in a larger historical context.

Course number: HHIS-281A
Prerequisite: n/a

Students explore how the aesthetic and technical development of the cinema (from its beginnings until 1941) established, defined, refined, and changed the nature of the medium and the way we see, in the context of historical, cultural, political, and socio-economic determinants. Students also examine the ideas, implications, and ramifications of important trends, movements, styles, genres, theories, and directors. Finally, through intensive analysis of the ways in which the formal elements of design of the image are manipulated for expressive purposes, students learn how to really "see" and more fully experience the expansive potential of the cinema.

Course number: HHIS-230
Prerequisite: n/a

Students explore how the aesthetic and technical development of the cinema (from 1941 to the present) defined, refined, and changed the nature of the medium and the way we see, in the context of historical, cultural, political, and socio-economic determinants. Students also examine the ideas, implications, and ramifications of important trends, movements, styles, genres, theories, and directors. Finally, through intensive analysis of the ways in which the formal elements of design of the image are manipulated for expressive purposes, students learn how to really "see" and more fully experience the expansive potential of the cinema.

Course number: HHIS-231
Prerequisite: n/a

This is a film genre course focused on films concerned with the planet earth and the ecology. It will track and survey films starting from early 20th ca film history reflecting on modernity and the environment and proceed up to current films that directly attend to the ecological condition. The study will categorize documentaries, fiction, newsreel, advertising, public service ads, and digital media and some painting and photography that attend to the ecological concerns science warns and hopes to resolve. Course purposes include understanding and considering this topic is not new and questions how it has been dealt with before the crisis we find ourselves in now; reflects upon the problems and strategies of communicating environmental data and ecological issues that are single and multifold; and questions audience/viewer habits and literacies deliberating how this is imperative to address for better results. Along with lectures, the class views and discusses a precise curation of films, television, digital, painting and writing spanning ecological categories, subjects and positions.

Course number: HNAR-383
Prerequisite: n/a

From the scripted spaces of the Baroque to the mediated streets of today's cities, from the birth of cinema to the manipulation of space in contemporary media, this history course explores worlds invented through technology. We learn how politics and the body are part of the convergence of media and entertainment from the nineteenth century arcade, to the vaudeville circuit, to Coney Island, to Theme Parks and themed cities; from early cinema to the late 20th century extension of the body through special effects and hidden effects, to the parallel worlds that invade us, and lure us. We also critically examine emerging trends and contemporary modes, and ruptures still remaining from media in the past, plus how the viewer responds to all these entertainment environments.

Course number: HHIS-211
Prerequisite: n/a

Entertainment design history develops students' ability to conceptualize and express creative ideas related to stories and experiences.

Course number: HHIS-210
Prerequisite: n/a

This course examines the history of high fashion, from Louis XIV through the 20th Century. Through audio-visual presentations, the course will focus not only on the origins of European high fashion design but the environments, objects and culture within each period. Through quizzes, exercises, and term project, students will be encouraged to use best practices to relate historic research back to their own majors.

Course number: HHIS-254
Prerequisite: n/a

This course presents an overview of cinema history from 1960-2000, with attention to the cultural, political, economic, and technological forces that helped to shape cinema during this time. Significant trends within the U.S. are studied, including new and changing genres, independent and maverick filmmakers, and the dominance of Hollywood blockbusters. Students are introduced to national cinemas in Asia, Africa, and Latin America.

Course number: HHIS-232
Prerequisite: n/a

This course examines the history of illustration, from the perspective of pop culture, by' joining the dot's' between Illustration, fashion, design, art, architecture, music and photography. Students will study more than 1000 images to re-examine how Illustration style, content and message has influenced and been shaped by the many divergent creative forces which combine contemporary global culture. Class discussion topics include: Illustrative innovation, Illustration as communication, and the enduring beauty and power of Illustration as an instrument for dialog, expression, connection and change.

Course number: HHIS-250
Prerequisite: n/a

This course provides a basic understanding of the movements, ideas, and events of industrial design history over the past 150 years, and reveals, through study of past masters, both how the profession has evolved to its present state and where it is going. The class will serve as a foundation for a life well spent in the practice of design.

Course number: HHIS-280
Prerequisite: n/a

This course introduces several thousand years of the history of Latin American art (ca. 2000 BCE-2000 CE) with an emphasis on modern and contemporary art from the 1820s to the present. The course begins with an overview of pre-Contact cultures of Mesoamerica and the Andes. Our study then considers the art of the colonial period to the independence movements of the 1820s, the Eurocentric academic art of the 19th century, popular art and visual cultures, and the rise of modernism across Latin America in the 1920s. We will finish our course with selections of contemporary Latin American art. We will examine how Latin American artists have built on the region's shared artistic legacies as well as adapted to outside influences.

Course number: HHIS-310
Prerequisite: n/a

This academic course presents an artistic, cultural, and social history of photography. Through readings of critical texts, slide presentations, movies, and a field trip, students will examine the varied uses and functions of photography. Themes include: war photography and ethics, the history of food photography, the portrait, and the pictures generation.

Course number: HHIS-270
Prerequisite: n/a

This academic course offers a thematic survey of historical and contemporary issues pertaining to photography, in the context of art and the world at large. Through readings of critical texts, slide presentations, movies, and a field trip, students will examine the ways that photography has been utilized by artists, journalists, scientists, amateurs, and a range of other practitioners; how meaning has been constructed in the photographic image; and how photography has been used in society. Themes include: new topographics, photography and documentary, the photographic archive, and the digital world.

Course number: HHIS-271
Prerequisite: n/a

Everything, and everyone, has a history that informs our present and future. This history stretches back into the past, and every history has its own history. The influence of science has saturated social, cultural and political life around the world for centuries. This class is designed to introduce you to the history of science and technology, starting in the 16th century and going up through the twentieth century and into the 21st, and emphasizing the 19th and 20th centuries. The course topics will be global, although with an accent on Western science and technology. Rather than being comprehensive (an impossible task), we will work through six specific topics. Each of these topics has a long arc and covers a tremendous amount of useful breadth and depth, as follows: Biological evolution; the history of scientific illustration; the history of color and color theory; the history of models (the universe, evolution, revolutions in science, etc.); environmental history; and aerospace and the Cold War. We will also have several guest speakers, and visit several exhibits and libraries.

Course number: HHIS-291
Prerequisite: n/a

In the era of digital convergence, video has come to represent anything that combines moving image and sound, providing legitimacy to all new forms. As the materiality and specificity of video and film has lessened, and as media, nearly obsolete, a consideration of its history and contribution to art is essential in understanding art of our time. Students will acquire critical skills through studying and analyzing the development of theoretical discourses that frame past and current issues surrounding the production and interpretation of the electronic image by artists. Videotapes addressing cultural, ethnic, and social concerns throughout the world will be screened, analyzed, compared and contrasted. Includes an overview as to how the technology has evolved in relation to creative output. Examples will be shown of the earliest origins of video art and "alternative media" by artists who participated in its evolution--which in many ways started as a revolution-- to the current trend of art on the Internet, cellphone, and VR. Includes lectures, readings, and screenings, including seminal and often unseen videos to current innovations.

Course number: HHIS-275
Prerequisite: n/a

In the aftermath of WWII, information theorists and ergonomics experts joined forces to test a new hypothesis: if complex technological systems (e.g. vehicle control panels, consumer electronics, interstate highways) could be designed to mesh with the needs and abilities of their human users, then it might be possible to facilitate proper use--and to prevent disasters--without any advance training or instruction. From these experiments was born the user, a creature ensconced in a world of tools and networks customized to his or her unique physiological and psychological preferences. Today, there is hardly a field of design practice that has not incorporated the paradigm of user experience design (UxD) as part of its core methodology--indeed, the memory of a time before the user has all but faded. To correct this pervasive amnesia, this course takes a critical, in-depth look at the history and theory of user-oriented design from the early 1900s to the present day. Through writing and creative projects, students will be asked to reflect on the status of the user in their own practices (whether in design or fine art), and to ask what kinds of behavior--personal as well as political--this term does and doesn't allow.

Course number: HHIS-265
Prerequisite: n/a

How Things Work develops introductory skills to become a professional concept artist. This course explains the principles of analyzing mechanisms and processes to address the student's needs to be entertainment design thinkers and professionals.

Course number: HHIS-150
Prerequisite: n/a

How Things Work develops introductory skills to become entertainment design thinkers and professional concept artists. Hands-on exploration of principles from engineering and physics are used to improve storytelling by creating depth and immersion in the worlds and concepts the students create, while overcoming traditional fears associated with hard sciences.

Course number: HSCI-281
Prerequisite: n/a

Psuedo course block

Course number: HSCI-281.PC3
Prerequisite: n/a

This course will familiarize students with general human factors principles that are at the heart of any effective design. Students will be introduced to areas of human performance, cognition, ergonomics, memory, and behavior. Reading assignments plus in-class and take-home projects will expose students to a variety of human factors theories and design examples. Two group projects are required: these allow students to apply the principles they have learned.

Course number: HSCI-202
Prerequisite: n/a

Using art, novels, movies, plays, speakers and interviews, we will learn about and compare the civil rights and human rights movements in the United States over the last 240 years. In this class we will cover the meaning of Civil Rights and Human Rights and how these developed over the history of the United States. We will look at the situation for individuals and groups that gave rise to the Civil Rights movements in the United States for African Americans, Women, LBGT community, Native Americans, Latinos/Chicanos, Immigrant Groups, Prisoners and Disabled Children and Adults. We will analyze how these groups became aware of themselves as an interest group, what their goals and strategies were and presently are; who were their leaders and other allies; what were their challenges and successes. We will look at the events, actions, arts and expression of these movements as expressed by members of the movement as well as the dominant culture by reading primary sources, hearing music, reading poetry and watching many movies.

Course number: HSOC-331
Prerequisite: n/a

This class introduces students to the field of humanistic ecology - a discipline that looks to historical, cultural, political, legal, policy, and economic elements to better understand the role of ecology in a larger sphere outside of (but occasionally inside of) its scientific structure and uses. The class will include a substantial historical perspective. Everything has a history, including ecology, that runs right up to the present day, and looking at how our relationships with the natural world have changed over time is an essential way to understand the world. Humanistic ecology is designed to provide context for the study of ecology, and in a fundamental way, focuses on the appropriate role of human beings in its relationship to nature: what is ethical, or not, what is useful, or not, and a variety of other matters that should be considered when taking a fully three-dimensional view of ecological science.

Course number: HHIS-299B
Prerequisite: n/a

Course number: HHUM-TRNSFR
Prerequisite: n/a

Course number: HHUM-TXAC
Prerequisite: n/a

Course number: HHUM-TXCW
Prerequisite: n/a

Course number: HHUM-TXFILM
Prerequisite: n/a

Course number: HHUM-TXLIT
Prerequisite: n/a

Humans have always been on the move, quickly or slowly, near or far, in the air, under water, on land, and in space, and for a million different reasons. This course will emphasize the ways in which different modes of transportation have come into being, how they have influenced the human condition over the centuries, and how our desires to get from one place to another have shaped and altered our historical and current conceptions of time and space. We will cover, but not be limited to, airplanes, automobiles, balloons, boats, walking, and extraplanetary travel.

Course number: HHIS-283
Prerequisite: n/a

This course will provide you with a solid understanding of customer behaviors, and how to influence those behaviors by examining a wide range of customer insights and market driving strategies.

Course number: HSAP-812A
Prerequisite: n/a

An intensive bootcamp that will have designers and MBA students working together to create viable concepts for improving INSEADs sustainable footprint. This course is based on the UN's Sustainable Development Goals (SDG). Designers will have the opportunity to gain insights into the challenges of implementing meaningful change in a challenging landscape. They will work on projects that are chosen by the teams and will work with a process developed by the instructor.

Course number: HSAP-812B
Prerequisite: n/a

This course will look at the development and promise of new business models in support of the triple bottom line (People, Planet and Profit) It will provide you with an overview of the opportunities for designer to work closely with other disciplines to create and support business models that will be more sustainable.

Course number: HSAP-812C
Prerequisite: n/a

Online Synchronous Course: Students will use their personal computers to connect to their instructor and peers using the DotED Learning Management System and the ZOOM web-conferencing technology. Weekly course sessions will be taught live online by your instructor at the date and time scheduled. Attendance will be taken at the start of each video session, and the instructor's class attendance policy is in effect. Student participation on the video platform is required, and all students must have access to a personal computer, a reliable internet connection, and a reliable microphone and camera for participation. (Classes may be recorded for student reference and recordings are accessible only to those students enrolled in the course.) Law and Business for Artists and Designers covers a full range of legal and business issues, including the language used in contracts that affects the license, sale, and creation of designs and other original works of art and design. This course will cover: the basics of copyright law, fair use and copyright defenses, trademark law and registration, maintaining trademark rights and avoiding infringements, and patent law. We learn how to file a copyright application; searching the availability of a trademark and filing a trademark application; how to get a business license, form a corporation, prepare a deal memo, and negotiate a contract; and how to negotiate the resolution of a dispute, a new job position, and a promotion.

Course number: HPRO-300OS
Prerequisite: n/a

Law and Business for Artists and Designers covers a full range of legal and business issues, including the language used in contracts that affects the license, sale, and creation of designs and other original works of art and design. This course will cover: the basics of copyright law, fair use and copyright defenses, trademark law and registration, maintaining trademark rights and avoiding infringements, and patent law. We learn how to file a copyright application; searching the availability of a trademark and filing a trademark application; how to get a business license, form a corporation, prepare a deal memo, and negotiate a contract; and how to negotiate the resolution of a dispute, a new job position, and a promotion.

Course number: HPRO-300
Prerequisite: n/a

This course introduces students to numerous aspects of illumination, from the practical to the conceptual, from the creative to the technological. We will survey the history, technology, and design of lighting through both research and hands-on experimentation. Field trips, lectures, readings, and guest presentations will cover topics including: optics, basic circuits, and electrical wiring; technologies such as LEDs, fiber-optics, CCFLs, EL and neon; lighting in space, and of sculpture and products; history and theory of color; artificial illumination and day lighting; the affect of light on neurology and psychology; retail, commercial, and residential lighting strategies.

Course number: HSCI-203
Prerequisite: n/a

A photograph is one of many materials that can hold an image. Images can exist as text, sound, imagination, frequencies and more. The way we process and store images has a great deal of influence on our physiological beings, shifting the way we interface with the worlds around and within us. How does it inform our practice when we consider the anticipated ontology of the images imbued within our work and the way they shape our worlds? What do our current worlds consist of and what are the realities we aspire toward? After contextualizing ourselves in our contemporary environment, we will learn how to locate, identify and place information, with constructive intentions, in our own works. The semester will include various learning models, included but not limited to lectures, field trips, collaborative exercises, and critique. Students will be asked to propose an image based project that thematically relates to the course. At the end of this course, students will understand how to employ these techniques within their own practices and begin to anticipate the way their making will materialize in the world and be intentional about the world they're building.

Course number: HCRT-252
Prerequisite: n/a

This course is an exploration of the use of new and emergent technologies in the generation and execution of a creative design process. Students will be introduced to a range of digital tools with both physical and virtual implications, and use these tools to innovate, iterate and develop solutions to discrete problems. This course (following Creative Technologies 360) builds on a basic technology base in order to further develop selected technologies in application to specific design objectives. Course will include physical computing, physical/digital making, and design experiences including VR, AR and MR. Students will test and validate concepts using prototypes of proposed solutions.The course will be structured by two to three in-depth assignments that investigate both technology and process, culminating in a final project. Course Learning Outcomes: 1. Learn to learn: Students will explore a range of creative and design methodologies and learn how to apply them to projects in a relevant manner. 2. Physical Computing: Students will be able to develop and demonstrate familiarity with digital electronics through experimentation with interactive prototyping platforms. 3. Physical Computing: Develop and demonstrate familiarity with coding through digital prototyping exercises. 4. Physical/Digital Making: Students will be able to design for the spatial sense, considering how humans perceive, move through and remember the virtual and physical world around them. 5. Physical/Digital Making: Design experiences (for example: VR, AR or MR etc), interactions,products, projects using emerging tools, technologies and processes.

Course number: HSCI-110
Prerequisite: n/a

American Literature as we now know it was in its very beginnings composed largely of the voices of people who arrived to this continent from somewhere else, as a political and economic refugees, religious pilgrims or captive slaves. Today, American Literature is still enriched by the voice of The Immigrant and/or The First Generation American, each of whom navigate geographies and cultural systems sometimes parallel to "native-born" Americans or in the shadows as invisibles/undesirables. Often, their stories reveal truths about the culture in which they arrive, and provide opportunities for thoughtful discussion about context, story-telling and the current state of the "new Americans." We will read novels and a memoir published in the last twenty years, as well as other selective readings from current events to inform our discussion and writing projects.

Course number: HNAR-210
Prerequisite: n/a

Thinking of starting a design driven business? What are the costs and opportunities of a niche market versus a mass-market product? How do factories think? How do engineers and development people think? How do marketing and sales people think? How do finance people think? How do investors and marketing partners think? Interested in cautionary tales and success stories from design entrepreneurs? This course focuses on the real world, daily experience of running a design driven business.

Course number: HENT-211
Prerequisite: n/a

Course number: HWRI-495
Prerequisite: n/a

Course number: HHUM-495
Prerequisite: n/a

Course number: HHUM-395
Prerequisite: n/a

Course number: HBPP-395
Prerequisite: n/a

Course number: HBPP-495
Prerequisite: n/a

Course number: HHIS-975
Prerequisite: n/a

Course number: HHIS-495
Prerequisite: n/a

Course number: HSCI-395
Prerequisite: n/a

Course number: HSCI-495
Prerequisite: n/a

Course number: HSCI-490
Prerequisite: n/a

Course number: HSOC-495
Prerequisite: n/a

Course number: HSOC-395
Prerequisite: n/a

This course examines the development of architecture and urbanism in Latin America within a context of significant social, political, and cultural transition. We will depart from the late nineteenth-century, a period of independence and a search for self-identity, and gradually move to the late-twentieth century. We will pay close attention to the dynamic relation of the tension in the shifts from colonialism to modernization of Latin America, particularly architecture's unique role at the intersection of politics, art, and economics. Topics will include positivism, functionalism, nationalism, indigenism, internationalism, tropicalism, utopianism, Brasilia, Buenos Aires, and Habana, and the university cities of Caracas and Mexico City.

Course number: HHIS-293B
Prerequisite: n/a

The goal of the ABI program is to teach students a framework for developing medical device innovations that address unmet clinical needs and opportunities and to prepare students for careers in healthcare, product development, and entrepreneurship. The course consists of a series of weekly lectures from industry experts which are intended to complement practical experience that students gain through an interdisciplinary team-based project. The course is a 2 term course held at the UCLA Anderson School of Business in Westwood, CA. The course is hosted by the California nanoSystems Institute (CNSI), the incubator wing of UCLA's science departments. During the Spring Term, the project teams select an unmet clinical need identified within the UCLA Health System, and teams are tasked with brainstorming and developing concepts to solve these medical needs. Lectures include invited guest speakers and panels composed of UCLA faculty as well as industry representatives from venture capital, medical device, design and law firms. Students develop design concepts, engineering approaches and business models for launch success. The Summer Term of the course focuses on concept refinement, prototyping, provisional patent submission, and building a business plan and investor pitch deck. Additionally, this quarter each project team is assigned an industry mentor to provide guidance on the product development process and entrepreneurship as it relates to medical devices. The culmination of the course is the completion of a business plan and pitch by each project team, which will be presented to a panel of venture capitalists at the end of quarter.

Course number: HSOC-458
Prerequisite: n/a

As design assumes an increasingly strategic role in both for-profit and non-profit domains, designers must expand their ability to think contextually about people, organizations, markets, brands, and publics they're designing for. This course teaches students how to become insightful about the world by honing their research and analysis skills to translate information into strategic opportunities for design. Insights introduces various approaches to trend research in the socio-cultural, technological, and design spheres and explores how designers can utilize trends to inform their creative work. Insights was originally built around industry practice informed by corporations like Nokia, Nike, Target, and Apple that have dedicated "Design Insights" teams. It continues to be informed by the methods and practices of researchers who specialize in providing credible, strategic insights to their clients.

Course number: HSOC-205
Prerequisite: n/a

"Insights" is a co-requisite of the sixth-term transportation design studio. This class guides designers in the creation of innovative vehicle concepts based on a strong foundation of research. Designers learn how to create compelling conceptual frameworks, driven by unique insights and articulated in a thoughtful, meaningful context. Since this class responds to a new sponsor brief each term, our focus is customized for each project, but our process remains constant. We employ a range of design research methodologies (primary and secondary) including observation, photo-documentation, ethnography, interviews, and trend tracking and forecasting. We keep the human story at the center of what we do, while considering broader trends that impact culture. Our work is closely coordinated and integrated with the design curriculum in the sixth-term studio class.

Course number: HSOC-285
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-L107A
Prerequisite: n/a

Course number: HHUM-490
Prerequisite: n/a

This intensive lab-structured course will strengthen your understanding of interdisciplinary collaboration. Museum environments will be used as the focal point and main context for examining how multidisciplinary teams work together to develop a wide variety of contemporary exhibitions. In the classroom, you will learn collaboration skills via experiential exercises within ever evolving group scenarios throughout the term that will be complemented by a range of academic readings. Field trips to local museums to meet with the creators of six current exhibits will breakdown the collaborative interplay between design and curation. Students will be required to coordinate their own transportation for the field trips and pay any necessary museum admission fees.

Course number: HPRO-333
Prerequisite: n/a

In this class, we'll explore the different, but equally influential plays and theatrical visions of Anton Chekhov (1860 - 1904) and Bertolt Brecht (1898 - 1956). Both writers saw actors as central to theatrical experience. Chekhov worked alongside Konstanti Stanislavski, whose Method acting technique favored naturalism, empathy and intimacy above 19th century theatrics, while Brecht devised his own theory of "alienation," encouraging actors to present their characters to the audience for critical inspection. Writing in pre-revolutionary Russian, Chekhov tenderly exposed the conflicts of interest between the old feudal order and Russia's new middle class. Writing throughout the rise and reign of German fascism, Brecht investigated criminality, class struggle, revolution and mass thought. The plays of both writers are models of ambiguity, leaving readers and viewers to decide for themselves what the best choices might be in a deeply conflicted world.

Course number: HNAR-376
Prerequisite: n/a

How do you want to live and move in the world? What values do you hold dear? Such things are influenced by culture. This course provides an overview of sociocultural anthropology-the study of culture and how humans make sense and meaning of their lives. Critically examine such topics as food, sexuality, and death from an anthropological point of view. Explore the ethics of research design and the politics of representation as they might relate to your art. Gain hands-on experience with ethnographic research methods such as interviews and observations. Conduct your own mini-ethnography project with the guidance of your professor. By recognizing the ways in which humans shape the world, learning how our beliefs and practices emerge, and reflecting on ourselves, we can begin to more consciously and intentionally shape our lives, identities, and the worlds in and around us.

Course number: HSOC-113
Prerequisite: n/a

This course represents both an introduction to and interrogation of the many ways in which design has been talked about, understood, and practiced since the 19th century. Rather than presenting a historical survey, this course will offer students an opportunity to use discussion and writing to delve more deeply into key concepts and questions related to design practice within its broader social, political, and economic contexts. Though this course will necessarily engage global perspectives and themes, we will pay particular attention to the past, present, and future of design in the United States in connection to this broader global context. Key topics will include: capitalism, labor, colonialism/decoloniality, race and racism, technology and discourses of innovation, and representation. Assignments will include brief weekly written responses to assigned readings, 3 short essays (2-3 pages each), and 2 in-class presentations.

Course number: HSOC-104
Prerequisite: n/a

This course represents both an introduction to and interrogation of the many ways in which design has been talked about, understood, and practiced since the 19th century. Rather than presenting a historical survey, this course will offer students an opportunity to use discussion and writing to delve more deeply into key concepts and questions related to design practice within its broader social, political, and economic contexts. Though this course will necessarily engage global perspectives and themes, we will pay particular attention to the past, present, and future of design in the United States in connection to this broader global context. Key topics will include: capitalism, labor, colonialism/decoloniality, race and racism, technology and discourses of innovation, and representation. Assignments will include brief weekly written responses to assigned readings, 3 short essays (2-3 pages each), and 2 in-class presentations.

Course number: HHIS-101
Prerequisite: n/a

This course represents both an introduction to and interrogation of the many ways in which design has been talked about, understood, and practiced since the 19th century. Rather than presenting a historical survey, this course will offer students an opportunity to use discussion and writing to delve more deeply into key concepts and questions related to design practice within its broader social, political, and economic contexts. Though this course will necessarily engage global perspectives and themes, we will pay particular attention to the past, present, and future of design in the United States in connection to this broader global context. Key topics will include: capitalism, labor, colonialism/decoloniality, race and racism, technology and discourses of innovation, and representation. Assignments will include brief weekly written responses to assigned readings, 3 short essays (2-3 pages each), and 2 in-class presentations.

Course number: HCRT-101
Prerequisite: n/a

Introduction to Materials Science & Engineering This course will introduce students to the fundamentals of materials science. In addition to learning about the four major classes of materials (metals, ceramics, polymers, and composites), students will get an overview of the major topics accompanying materials, including bonding, crystal systems, materials defects and failure, thermodynamics, diffusion, and phase diagrams. Finally, students will be introduced to the major functional properties of materials, including mechanical, thermal, optical, electrical, magnetic, and acoustic properties. Students will also learn the standard methods of testing for each type of property. Proficiency in algebra and geometry are required. Basic chemistry, trigonometry and calculus are helpful but not required.

Course number: HSCI-209
Prerequisite: n/a

This online course will introduce students to the fundamentals of materials science through a combination of lectures, in-class problem solving, and at-home materials exploration. In addition to learning about the four major classes of materials (metals, ceramics, polymers, and composites), students will get an overview of the major topics accompanying materials, including bonding, crystal systems, materials defects and failure, thermodynamics, diffusion, and phase diagrams. Finally, students will be introduced to the major functional properties of materials, including mechanical, thermal, optical, electrical, magnetic, and acoustic properties. Students will also learn the standard methods of testing for each type of property. Basic proficiency in algebra and geometry are required. Basic chemistry, trigonometry and calculus are helpful, but not required.

Course number: HSCI-106
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-013
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-007
Prerequisite: n/a

This introduction to psychology focuses on the structure and experience of the self. We may picture ourselves in contrast to others, such as when we experience ourselves as less extrovert than our friend. Or we find ourselves overweight relative to that model. This is how we imagine ourselves. We have many self images: a body image, an image of our personality, a professional self image, and so on. We spend much time worrying about how to imagine ourselves, and whether our self images are 'normal'. In this class will survey the psychological research on the self and the problems of the self. The course will cover topics such as memory and emotion, identity, overthinking, imposter syndrome and body image. A central topic in all of this is the notion that we imagine ourselves, for better or for worse. We will explore this through lectures and discussion, as well as weekly creative exercises where you will be asked to imagine alternative selves. This class will help you to express yourself and to reach your audience in a more nuanced way.

Course number: HSOC-130
Prerequisite: n/a

This introduction to psychology focuses on the structure and experience of the self. We may picture ourselves in contrast to others, such as when we experience ourselves as less extrovert than our friend. Or we find ourselves overweight relative to that model. This is how we imagine ourselves. We have many self images: a body image, an image of our personality, a professional self image, and so on. We spend much time worrying about how to imagine ourselves, and whether our self images are 'normal'. In this class will survey the psychological research on the self and the problems of the self. The course will cover topics such as memory and emotion, identity, overthinking, imposter syndrome and body image. A central topic in all of this is the notion that we imagine ourselves, for better or for worse. We will explore this through lectures and discussion, as well as weekly creative exercises where you will be asked to imagine alternative selves. This class will help you to express yourself and to reach your audience in a more nuanced way.

Course number: HSCI-130
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-CS2
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-CS1
Prerequisite: n/a

Introduction to Entrepreneurship Thinking of starting a design driven business? In this course students will gain an understanding of how to launch a start-up venture and how to create entrepreneurial ventures from self-initiated projects. They will learn how artwork, design and products are developed from the entrepreneurial standpoint including how a design varies based on the business context. Students will create a new company and will develop a start-up strategy and use the Business Canvas Model as a foundation to evaluate the feasibility of the company (ies). Products can be two-dimensional graphics or illustrations applied to existing product categories, new stylistic designs, entertainment or media properties, on-line solutions, product design, brand concepts or technical inventions. This course focuses on the real world, daily experience of running a design driven business.

Course number: HENT-100
Prerequisite: n/a

Online Synchronous Course: Students will use their personal computers to connect to their instructor and peers using the DotED Learning Management System and the ZOOM web-conferencing technology. Weekly course sessions will be taught live online by your instructor at the date and time scheduled. Attendance will be taken at the start of each video session, and the instructor's class attendance policy is in effect. Student participation on the video platform is required, and all students must have access to a personal computer, a reliable internet connection, and a reliable microphone and camera for participation. (Classes may be recorded for student reference and recordings are accessible only to those students enrolled in the course.) Introduction to Entrepreneurship Thinking of starting a design driven business? In this course students will gain an understanding of how to launch a start-up venture and how to create entrepreneurial ventures from self-initiated projects. They will learn how artwork, design and products are developed from the entrepreneurial standpoint including how a design varies based on the business context. Students will create a new company and will develop a start-up strategy and use the Business Canvas Model as a foundation to evaluate the feasibility of the company (ies). Products can be two-dimensional graphics or illustrations applied to existing product categories, new stylistic designs, entertainment or media properties, on-line solutions, product design, brand concepts or technical inventions. This course focuses on the real world, daily experience of running a design driven business.

Course number: HENT-100OS
Prerequisite: n/a

Introduction to Materials for Industrial Design Using an industrial design framework, the student will survey materials, methods of processing them, and sources of material innovation toward visualizing a designed experience of materiality. Surveyed materials will include ceramics, composites, glass, metals, polymers, textiles, and wood. Students will learn material taxonomy and research material trends toward designing an experience defined by materiality.

Course number: HSCI-208
Prerequisite: n/a

The class will explore, discuss, analyze, and compare various aspects of modernist culture including the visual arts, design and architecture, film, the performing arts, music, literature, and science and technology, and provide a historical perspective and critical insight into the political, social, and philosophical dynamics of the era, and its relevance to our current time.

Course number: HHIS-110
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-PL12
Prerequisite: n/a

Introduction to Psychology Psychology is the scientific study of behavior and mental processes, in humans and other species. This course will provide a general introduction to the primary subject matter areas of psychology including lifespan development, emotion, social processes, personality, psychopathology, the brain, stress and stress response systems, learning, perception, as well as exploration of the creative process and discussion of course content as it relates specifically to that process.

Course number: HSOC-221
Prerequisite: n/a

This course will introduce students to the practice of research-an organized attention to the world around us-in academic, design, and artistic contexts. Our conversations will consider how practitioners in a range of scholarly and creative fields articulate original research questions; identify relevant sources; and employ a range of methods to gather and analyze data. The course will include introductions to the history of research and evolving understandings of objectivity and observation; archival, ethnographic, quantitative, and other methods; as well as research ethics and anti-racist/decolonial approaches. For their final project, students will develop a research proposal outlining a future project relevant to their interests.

Course number: HSOC-103
Prerequisite: n/a

Introduction to Robotics offers you the opportunity to explore the increasing role of automated mechanisms in our world and learn what it takes to build your own robots. This course is part survey, part technical application. Hands-on robot designing and building figures strongly as we encounter topics through team "design challenges," in which we see what makes up a robot and investigate ways to control them to do what we want.

Course number: HSCI-231
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-ME008
Prerequisite: n/a

Space travel has become an essential technology area for humanity and is inextricably linked to our shared future. Human technology now extends across the whole of the Solar System and beyond. We are now, more than ever, a spacefaring species - teaching, learning, and sharing our joined efforts and interests in this arena has never been more vital. The essential dialogue of space travel spans a vast encyclopedia of terms and topics, not limited to: technological, demographic, sociological, emotional, financial, historical, political. The scope of our understanding, therefore, must encompass a true interplanetary perspective, including a grasp of how we come to terms with our own personal roles in the human expansion into space. This course provides an up-to-the-minute survey of the current state of humanity's technological steps into space, broadly presented from a conceptual and experiential point of view. It is intended for students who anticipate a role in the rapidly expanding industry of space exploration as well as for those who seek a basic understanding of the history, technology, and future of space travel. The course material will cover elements of history, science, mathematics, engineering, art, and literature, and invite discussion of current developments and controversies that face our future in space.

Course number: HSCI-219
Prerequisite: n/a

Introduction to Urban Studies is a course designed to address many key issues of urban life, both past and present. Starting with a general understanding of cities as collections of spaces and places shaped by human activity, the course will explore the varied forces determining the proliferation, expansion, and even decline of the urban form. Are the cities of the 21st century the cure or the cause of the many challenges facing us in the world today? How have people studied cities and how might we study them now? These questions and many others will emerge over the course's duration. Students will use this course to make the connections between topics often discussed separately, like housing, transportation, and urban politics. In addition, Introduction to Urban Studies will shine a spotlight on the modern city in the global context by linking the urban to processes of migration, investment, and environmental impact.

Course number: HSOC-271
Prerequisite: n/a

This class will center around writing that engages, explores and even cannibalizes an artwork or personage as part of a larger discursive journey . Call it criticism, fan-fiction or psychobiography, the writings we'll look to involve attempts to penetrate and even merge with their subjects. We'll read texts by Jarrett Kobek, Fred Moten, Jill Johnston, Cecilia Pavon, Rene Ricard, Charles Bowden and others, and write under their influence. Mos sessions will involve some in-class writing. One final project, between 10-12 pages long, will be required. The final project can be something new begun during the lass, or it can be a continuation of work already in progress. The class will read two short novels: The End of a Primitive by Chester Himes, and Towards Another Summer by Janet Frame. Please get copies of these. All other readings will be provided.

Course number: HNAR-324
Prerequisite: n/a

How should we gauge the impact of the Internet on contemporary art? Does the advent of Web-based image aggregators and curatorial platforms (e.g. Pinterest, Contemporary Art Daily, thejogging.tumblr.com, #ArtSelfie) spell doom for the art profession, or at least, for its traditional institutions and markets? Or, to adopt a more optimistic perspective, have the databases, online archives, and retail networks of Web 2.0 revitalized the methods and materials available to contemporary artists, enabling universal access to supply chains and data flows? In this class, we will seek to understand the practical challenges posed to artists (and also critics, curators, spectators) by the omnipresent Web; we will also consider the "post-internet" condition in terms of the larger historical trajectory of modernism and its antecedents.

Course number: HSOC-365
Prerequisite: n/a

How should we gauge the impact of the Internet on contemporary art? Does the advent of Web-based image aggregators and curatorial platforms (e.g. Pinterest, Contemporary Art Daily, thejogging.tumblr.com, #ArtSelfie) spell doom for the art profession, or at least, for its traditional institutions and markets? Or, to adopt a more optimistic perspective, have the databases, online archives, and retail networks of Web 2.0 revitalized the methods and materials available to contemporary artists, enabling universal access to supply chains and data flows? In this class, we will seek to understand the practical challenges posed to artists (and also critics, curators, spectators) by the omnipresent Web; we will also consider the "post-internet" condition in terms of the larger historical trajectory of modernism and its antecedents.

Course number: HCRT-365
Prerequisite: n/a

This is a conversation-based Italian course, designed to provide someone with little or no knowledge of Italian the basics of conversation and grammar upon which to build. For those planning on participating in the Italy Study Away program in the summer, the course will establish a useful primer for the daily Italian class in Modena, and will include some essentials of "survival Italian," to make ordering food and asking directions easier. Class is open to all students. Benvenuti!

Course number: HHUM-103
Prerequisite: n/a

Arguably one of the most important and influential works of fiction of the 150 years, James Joyce's 'Ulysses' is also famously difficult to read. At least that's its reputation. This course is designed to be a guided tour through the novel's 18 shifting chapters, in order to unlock its humor, invention and humanity, and to help dispel its mystery. 'Ulysses' takes place on a single day (June 16, 1904) in the life of literature's great antihero, Leopold Bloom. Along the way of an almost hourly chronicle, the pages take readers through the inner thoughts of principle and minor characters, parodies of literary styles, critiques of imperialism, racism, and popular culture and highbrow culture. It does this while also mimicking the structure of Homer's 'Odyssey', shifting the styles of chapters and complicating the nature of authorship and narrative authority. Joyce's biographer Richard Ellmann wrote that, whether we read 'Ulysses' or not, we've been influenced by it. This course presents the opportunity to see what Ellmann means.

Course number: HNAR-303
Prerequisite: n/a

Cal Tech course via exchange program

Course number: CAL-PL041
Prerequisite: n/a

LAUNCH PREP, open to all ArtCenter Majors, is a mid-degree class for aspiring entrepreneurs, intrapreneurs, investors, inventors, makers, founders and strategists. This course will align your core prototyping skills, startup development tools and business expertise, helping you build a repeatable formula to validate and launch new businesses and ventures. Existing concepts and projects are welcome but not required in this team-based, interdisciplinary experience. Topics covered include: tactical research, in-person interviews, customer discovery, market analysis, financial strategy, intellectual property and scale with a materials and supplies stipend to cover expenses.* This class will help you build a practical plan with key milestones to grow your startup or business goals during your remaining terms at ArtCenter. *Stipends of up to $1,500 available per team to cover materials and supplies for prototyping. Application required. Prerequisites: one intro/studio entrepreneurship or business class. Final projects must be scalable and focused on social impact.

Course number: HENT-400
Prerequisite: n/a

This course in human athletic biomechanics is taught by the team at BioMechanica LLC (biomechanica.com). Led by principals Martyn Shorten Ph.D. and Simon Luthi Ph.D., student teams will learn about the human mechanical attributes of sport and apply them to projects that reimagine footwear and digital documentation through team-generated individual projects.

Course number: HSAP-813B
Prerequisite: n/a

This course is an intensive exploration of the athletic industry business model and the ongoing digital influences challenging the paradigm. Student teams will analyze how products are developed, transported, marketed and sold by creating branded, team-generated individual projects and digitally driven business models.

Course number: HSAP-813A
Prerequisite: n/a

Course number: SAP-857E
Prerequisite: n/a

Course number: SAP-857F
Prerequisite: n/a

OPPORTUNITY: Envision Charity Shop System Envision a system of thrift shops to support pediatric burn treatment. Nonprofit charity shops are a new phenomenon in Chile, and have a huge potential to raise funds to support free treatment, while building a community of socially engaged volunteers. Interdisciplinary student teams will propose real world solutions: . Retail: charity shop spatial design / furniture & lighting / pop-up shops . Branding & Marketing: promotion for customers, donors, volunteers . Systems & Strategy: supply chain for donations / online store MISSION: Free Pediatric Burn Treatment Partner with COANIQUEM, a leading nonprofit that provides free holistic treatment to children across Latin America who have survived severe burns. FIELD RESEARCH: 2 Weeks, Santiago, Chile Travel to COANIQUEM's pediatric burn center in Santiago, Chile, to understand their mission & research opportunities for charity retail

Course number: HSOC-805A
Prerequisite: n/a

TestlabBerlin is a sponsored studio abroad project. One core faculty member will run the project for the entire semester, additionally there will be guest faculty/lecturers/guest critics in Berlin. Available to fifth term and above students by application. Students will experiment with new creative strategies for art & design production which will be informed by real-time response from a chosen audience. This feedback process will be enabled both through social media (Socialtecture) and through in-person interaction with the audience. The resulting projects are cross-cultural in nature and dramatically broaden the creative horizon of all participants.

Course number: HSOC-801A
Prerequisite: n/a

TestlabBerlin is a sponsored studio abroad project. One core faculty member will run the project for the entire semester, additionally there will be guest faculty/lecturers/guest critics in Berlin. Available to fifth term and above students by application. Students will experiment with new creative strategies for art & design production which will be informed by real-time response from a chosen audience. This feedback process will be enabled both through social media (Socialtecture) and through in-person interaction with the audience. The resulting projects are cross-cultural in nature and dramatically broaden the creative horizon of all participants.

Course number: HSOC-801B
Prerequisite: n/a

TestlabBerlin is a sponsored studio abroad project. One core faculty member will run the project for the entire semester, additionally there will be guest faculty/lecturers/guest critics in Berlin. Available to fifth term and above students by application. Real-life design challenge in a studio setting. Project is funded by Art Center and supplemented by a consortium of outside partners.

Course number: SAP-828D
Prerequisite: n/a

This design studio course will engage the on-going process of visioning and city-making ahead of the 2028 Olympic Games. Students will develop projects that might enhance urban life for the greatest number of Angelenos long after the 2028 Olympic torch is extinguished. Such projects might address transportation needs, housing, leisure and public spaces, education, labor and matters of inequality. This course is eligible for the Designmatters Minor in Social Innovation

Course number: TDS-415A
Prerequisite: n/a