Special Topics for Summer 2017 and Fall 2017

Special Topics 

Please note: this page will be updated as information is confirmed. In case of a discrepancy between this page and myEC, the information on myEC will be deemed correct.

  • Additional information on these courses is available at https://myec.ecuad.ca/
  • Most credit courses have prerequisites that are clearly outlined on the website.

Spring 2018

AHIS 336 S001 – Hist. + Contemporary Movements (3)

Wednesdays, 8:30 am – 11:20 am, Spring 2018

Instructor: Dr. Ariane Noël de Tilly

Topic: Art and Revolution

This special topic course will focus on the role and function of art during a number of revolutions since the French Revolution, including the Russian Revolution, the Mexican Revolution, the Cuban Revolution, the Algerian Revolution, and the Chinese Cultural Revolution. One of the aims of this course is to further understand how the revolutionaries, counter-revolutionaries and/or artists defined the role of art during these periods of revolutionary upheavals. Over the course of the semester, we will look at the different types of works produced in the context of these revolutions, from paintings to caricatures, from propaganda posters to films.

AHIS 430 S001 – Topics in Cont Aboriginal Art (3)

Wednesdays, 4:30 pm – 7:20 pm, Spring 2018

Instructor: Richard Hill

Topic: Modern & Contemporary Aboriginal Art in the Press

This seminar will look at the public reception of key Indigenous artists and exhibitions through their coverage in mainstream newspapers and magazines. We will look at art and exhibitions as they are available to us in surviving documents and literatures (images, artists statements, exhibition catalogues) and compare our sense of these projects with their reception by the mainstream press. We will compare and contrast theoretical frameworks and methods of analysis as well as content, with the hope of tracking not only how these differ in general, but also over time, since the mid-20th Century. A key question will be: have some of the avant-garde ideas about Aboriginal art first propounded in the 20th Century become mainstream?

CCID 202 S002 – Fieldwork: Special Topics (3)

Fridays, 1:00 pm – 3:50 pm, Spring 2018

Instructor: Jake Chakasim, Sadira Rodrigues, Sanem Guvenc-Salgirli

Topic: Critical Research, Methods + Practices

This course is concerned with the meeting of critical theory and contemporary creative practices in their most expansive forms. Driven by methodological approaches that interrogate a range of cultural, geographic and historical perspectives, Research Methods|Research Practice combines research-led and problem oriented teaching with fieldwork and site-driven projects. Meeting every Tuesday and Friday, the course will engage with a range of ideas from artist-led research and aleatory procedures to structuralism and semiotics, from memory and intersectional studies to new materialisms and spatial cultures. Driven by indigenous and decolonizing pedagogical principles, this course aims to provide students a solid basis for critical making / thinking and cultural inquiry that is relevant to the contemporary world. Led by a team of multi-disciplinary teachers, the course merges theoretical / conceptual inquiry with weekly off-site fieldwork, allowing students to create their own practice-based projects based on site research, cultural context, and independent studio work related to the ideas we explore in the course.

IMPORTANT NOTE: CCID 202 S002 and HUMN 205 S002 are linked, so you must have taken both in the Fall 2017 semester, and then sign up for both in the Spring 2018 semester.

HUMN 205 S002 Perspectives in the Crit. (3)

Tuesdays, 12:30 pm – 3:20 pm, Spring 2018

Instructor: Sanem Guvenc-Salgirli, Jake Chakasim, Sadira Rodrigues

Topic: Critical Research, Methods + Practices

This course is concerned with the meeting of critical theory and contemporary creative practices in their most expansive forms. Driven by methodological approaches that interrogate a range of cultural, geographic and historical perspectives, Research Methods|Research Practice combines research-led and problem oriented teaching with fieldwork and site-driven projects. Meeting every Tuesday and Friday, the course will engage with a range of ideas from artist-led research and aleatory procedures to structuralism and semiotics, from memory and intersectional studies to new materialisms and spatial cultures. Driven by indigenous and decolonizing pedagogical principles, this course aims to provide students a solid basis for critical making / thinking and cultural inquiry that is relevant to the contemporary world. Led by a team of multi-disciplinary teachers, the course merges theoretical / conceptual inquiry with weekly off-site fieldwork, allowing students to create their own practice-based projects based on site research, cultural context, and independent studio work related to the ideas we explore in the course.

IMPORTANT NOTE: HUMN 205 S002 and CCID 202 S002 are linked, so you must have taken both in the Fall 2017 semester, and then sign up for both in the Spring 2018 semester.

 

Fall 2017

AHIS 325 F001 – Studies in Modern Art (3)

Thursdays, 3:50pm  – 6:40pm, Fall 2017

Instructor: Art Perry

Topic: Words & Images: The Alchemy of Language into Visual Art

Language has been the subtext behind much of twentieth and twenty-first century artistic practice. Whether it is critical writings, artist manifestos, appropriated theories from cultural, political or academic sources, words have shaped much of modern culture’s more avant-garde visual art. Keeping this in mind Words & Images will look at the transformative power of literature, poetry and drama on the visual arts. This course will study different variants of expression within the visual arts (painting, photography, video and film) that have been influenced by or adapted from literary sources. The transfer from page to screen will be a theme running throughout this course. Films and video art have been a prime way to visualize many of the complexities within contemporary literature, poetry and drama, and thereby providing entry into the often unapproachable tangle of modernist and postmodern writings. Words & Images will also study contemporary artists whose work refers to writings that are more personal or specific to their own directives: for example, Bill Viola’s use of writings by St Francis of Assisi and St John of the Cross, Laurie Anderson’s incorporation of William Burroughs ‘cut-ups’ or Stan Douglas’s debt to Samuel Beckett.

AHIS 335 F001 – History of Ceramics Practice (3)

Thursdays, 8:30am – 11:20am, Fall 2017

Instructor: Paul Mathieu

This course is of interest to any student attending Emily Carr University, whether they are in the Art, Design or Media programs. We will examine ceramics relationship to Painting and Drawing, Printmaking, Illustration and Photography, Sculpture and Architecture, Design and Media. Whatever your area of interest, this course will be useful in expanding your understanding of your own practice as it relates to history and to cultures.

AHIS 336 F001 – Hist. + Contemporary Movements (3)

Thursdays, 12:30pm – 3:30pm, Fall 2017

Instructor: Ariane Noël de Tilly

Topic: Past/Present: Two Eras of Portraiture

Portraiture is not a genre that was invented during the Renaissance, but it is a genre that became increasingly popular during that period. This special topic course will focus on the history of the portrait by examining the evolution of portraiture during two historical periods: the Renaissance and our Contemporary era. Throughout the semester, we will study the functions, uses and display of Renaissance portraits and self-portraits and will then look at examples of contemporary artists who work with this genre in order to identify the similarities and differences between the two eras.

CCID 200 F001C – Community Projects (3)

Thursdays, 12:30pm – 3:20pm, Fall 2017

Instructor: Hannah Jickling and Helen Reed

Topic: Big Rock Candy Mountain

Is there a way to work within the tentative areas of youthful self-definition to access new aesthetic terrain? What happens when we re-frame children as tastemakers rather than consumers? Is there is a place where adult rationalities might productively stretch, crack, dissolve, like taffy, like Warheads©, like Toxic Waste©??

Quote from Big Rock Candy Mountain: The Start of Something Bigger and Something Smaller by Vanessa Kwan

This course provides students with the opportunity to learn about expanded public practice through an embedded engagement with Big Rock Candy Mountain, an ongoing public artwork produced by Other Sights For Artists Projects. Big Rock Candy Mountain is a flavor incubator and taste-making think-tank between artists Hannah Jickling and Helen Reed and students, teachers and support staff at Queen Alexandra Elementary School in East Vancouver. The project involves candy editions, flavor-making workshops and artist talks for children. Students in this course will spend part of the semester off-campus at Queen Alex, supporting projects at the elementary school. Borrowing from educational models and participatory methodologies, in both current and historical art practices, this is a course for any student looking to explore atypical contexts and embedded approaches to art-making.

Students must be able to meet off-site, at Queen Alexandra Elementary School. As course work is coordinated with several community partners, reliability and professionalism are of the utmost importance. Absence from more than two classes will result in an automatic failure of the course. 

CCID 202 F002 – Fieldwork: Special Topics (3)

Fridays, 1:00 pm – 3:50 pm, Fall 2017

Instructor: Sadira Rodrigues, Sanem Guvenc-Salgirl, Jake Chakasim

Topic: Critical Research, Methods + Practices

This course is concerned with the meeting of critical theory and contemporary creative practices in their most expansive forms. Driven by methodological approaches that interrogate a range of cultural, geographic and historical perspectives, Research Methods|Research Practice combines research-led and problem oriented teaching with fieldwork and site-driven projects. Meeting every Tuesday and Friday, the course will engage with a range of ideas from artist-led research and aleatory procedures to structuralism and semiotics, from memory and intersectional studies to new materialisms and spatial cultures. Driven by indigenous and decolonizing pedagogical principles, this course aims to provide students a solid basis for critical making / thinking and cultural inquiry that is relevant to the contemporary world. Led by a team of multi-disciplinary teachers, the course merges theoretical / conceptual inquiry with weekly off-site fieldwork, allowing students to create their own practice-based projects based on site research, cultural context, and independent studio work related to the ideas we explore in the course.

IMPORTANT NOTE: CCID 202 F002 and HUMN 205 F002 are linked, so you must sign up for both in the Fall 2017 semester, and then again in the Spring 2018 semester.

CRAM 304 F001L – Ceramics: Special Topics (3)

Mondays, 8:30am – 11:20am, Fall 2017

Instructor: TBA

Topic: Wheelthrowing

The wheel is investigated as a tool to create hollow forms to be used in a variety of contexts. Students develop an understanding and control of wheel-throwing, learn to fire electric and gas kilns, and are introduced to glazing and surfacing materials. Using clay, students acquire practical, critical and historical tools to consider ceramics and pottery within contemporary culture and current art practices. Demonstrations, discussions, and presentations are regularly scheduled. Assigned and self-directed projects are developed and discussed in critiques. This course is cross-listed with CRAM 202 F001L .

DESN 350 F001 Topics Interdiscipline Design (3)

Tuesdays, 12:30 pm – 3:20 pm, Fall 2017

Instructor: Louise St. Pierre

Topic: This Forest Thinks

This interdisciplinary course will include immersive activities in nature at an outdoor center, local park or green space to investigate design’s relationship with nature. Students will be asked to prototype-in-nature (Earthbond Prototyping) to push the boundaries of their personal relationship to nature; dirty hands, wet knees, deep observation and a panoply of sensory experiences are encouraged. Students will develop projects that translate their sensitized connection to nature into a design that would encourage biophilic connections among the general public. Outcomes may include experience design, installation and exhibit design and students will be given the opportunity to work though and across the disciplines of graphic, industrial, and interaction design. Collaborative projects are encouraged, but optional.

FVIM 416 F001: Special Topics in Integ Media Special Topics in Integrated Media

Tuesdays, 7:00pm – 9:50pm

Instructor: Caroline Park

Topic: Sonic Futurism

Sonic Futurism is a critical production course emphasizing the experiential and affective characteristics of sound in ambient/noise cultures, sound art, and experimental electronic dance music. Readings from critical race and sexuality studies provide necessary framing for class discussions and critiques. Course participants will be introduced, and encouraged, to take on experimental approaches in creating unique sound projects. By seeing how today’s diverse sonic artists investigate, interrogate, and imagine their work and themselves in self-created sonic futures, course participants will engage in some of the key concepts and questions that arise in critical explorations of identity in the contemporary art world.

HUMN 205 F001 Perspectives in the Crit. (3)

Mondays, 1:00 pm – 3:50 pm, Fall 2017

Instructor: TBA

Topic: Perspectives in Critical Humanities

The inaugural iteration of this new critical humanities course at Emily Carr invites students from all practices and intellectual persuasions to consider how to do things with words.  We will pay attention to texts across the humanities--how arguments are crafted, how assumptions are implied or made explicit or called into question, how forms of verbal expression are enhanced or undermined by how they appear or come across to readers and audiences, and how words work for or against dominant and marginal communities of meaning and existence--and to cultural, historical, and aesthetic contexts in the reception, adoption, and subversion of myths and other constitutional narratives in contemporary art, design, and media.  The course will be reading-intensive in the most rewarding of ways, as well as discussion-intensive to reveal, ultimately, a plurality of socio-political and disciplinary subtexts ripe for historiographical inquiry and critique.

HUMN 205 F002 Perspectives in the Crit. (3)

Tuesdays, 12:30 pm – 3:20 pm, Fall 2017

Instructor: Sanem Guvenc-Salgirl, Jake Chakasim,
Sadira Rodrigues

Topic: Critical Research, Methods + Practices

This course is concerned with the meeting of critical theory and contemporary creative practices in their most expansive forms. Driven by methodological approaches that interrogate a range of cultural, geographic and historical perspectives, Research Methods|Research Practice combines research-led and problem oriented teaching with fieldwork and site-driven projects. Meeting every Tuesday and Friday, the course will engage with a range of ideas from artist-led research and aleatory procedures to structuralism and semiotics, from memory and intersectional studies to new materialisms and spatial cultures. Driven by indigenous and decolonizing pedagogical principles, this course aims to provide students a solid basis for critical making / thinking and cultural inquiry that is relevant to the contemporary world. Led by a team of multi-disciplinary teachers, the course merges theoretical / conceptual inquiry with weekly off-site fieldwork, allowing students to create their own practice-based projects based on site research, cultural context, and independent studio work related to the ideas we explore in the course.

IMPORTANT NOTE: HUMN 205 F002 and CCID 202 F002 are linked, so you must sign up for both in the Fall 2017 semester, and then again in the Spring 2018 semester.

HUMN 305 F090 Studies in the Humanities (3)

Online Class, Fall 2017

Instructor: Ariane Noël de Tilly

Topic: The Art of Protest: Social Movements from the 1960s to the Present

This course presents some of the most notable social movements, from the 1960s to the present, that contributed to the transformation of modern society: the Civil Rights Movement, the Women’s Movement, the LGBT Movement, and some more recent ones such as the Arab Spring, the Indignados Movement, the Occupy Wall Street Movement, the Idle No More Movement, and the 2012 Quebec “Maple Spring”. The course aims at providing the students with an understanding of these social movements by discussing the dreams, hopes and revolts they channelled, the different strategies used to mobilize the participants, and how they brought about social change. The course also introduces the students to different forms of artistic creations (songs, posters, graffiti, photos, illustrations, poems, etc.) created in the context of these social movements. This will enable students to better understand the social roots of artistic expression and why artists can be considered as a defining part of social movements. Finally, we will examine the different ways that artists chose to “speak up” during these periods of social upheaval.

HUMN 306 F001 Studies in the Humanities: Design (3)

Tuesdays, 3:50 pm – 6:40 pm, Fall 2017

Instructor: Rob Stone

Topic: Making Space

This course takes architecture, design and urbanism as a starting point to think about changes in spatial practice and spatial sensibility in the period since mid-C20th. We will look at the formation of different kinds of domestic, civic, rural and metropolitan space during this time, and the different kinds of social relationships that these appear to have engendered. Our sources will come from examples of architecture, town planning and design, and the literatures on them, as well as cinema, choreography and visual art.  We will develop an appropriate theoretical understanding of the ‘subject’ of spatial discourse, one that draws on questions concerning the politicization and eroticization of space, elements of psychoanalysis and cartography, and the disassembling of the novel spaces of internet sociability. At some point, you will design a city.

HUMN 311 F002 Visual Art Seminar: Design (3)

Thursdays, 12:30 pm – 3:20 pm, Fall 2017

Instructor: Justin Langlois

Topic: Don't Go It Alone: Collectives and Collaboration in Contemporary Practices

How can we organize ourselves to become more resilient? How should we gather as an expression of resistance? How might we work together to simply get more done? Across a range of contemporary practices, we can see the (re)emergence of collaborative and collective methodologies fostering new interdisciplinary projects, artist-run-infrastructures, and artworks that engage activism and social change. Whether considering our impacts on material resources or the political challenge that an individually-focused society fosters, we can find and urgency in considering how, why, and when we can work together. The exploration of artistic practices, models for organizing, and the production of collaborative artworks and collective entities will provide students with a variety of opportunities to think, learn, and work alongside one another. This course will offer a practical and theoretical exploration the role of collectivism and collaboration in visual arts and professional practices, culminating in a variety of hybrid studio and writing projects, supported by readings, workshops, and presentations.

HUMN 311 F005 - Visual Art Seminar (3)

Wednesdays, 1pm – 3:50 pm, Fall 2017

Instructor: Allison Hrabluik

Topic: The Literary

This course will explore how literary strategies are used to construct form and meaning in literature, visual art, and pop culture. Students will be introduced to a wide range of authors and artists, and will apply the strategies learned in class to their own writing and studio assignments. Students will have the option of completing most assignments through either creative writing or visual projects.
Sections of study will include The Poetically Political, Formal Constraints, and Allegory in the Absurd. Authors studied will include Leanne Simpson, Oulipo, Gertrude Stein, Fernando Pessoa, Susan Sontag, G.K. Chesterton, Sarah Polley, Thomas King, Clarice Lispector, and Ursula K. Leguin, among others. Critical analysis skills will be developed through the examination of readings and visual material, and in class discussion and critique.

ILUS 305 F002 – Illustration Genres: Topic (3)

Wednesdays, 8:30am-11:20am, Fall 2017

Instructor: Robin Mitchell-Cranfield

Topic: Publication Design (Design for Illustrators)

This practical course is designed for illustration students who would like to have a better understanding of design and art-direction. Students will learn how to develop their practice with a better understanding of art direction, typography, and production. This course will leave students more prepared for real-world projects. Small assignments throughout the term will allow student to explore communication design through illustration. Students will complete a term project designed to enhance their portfolio.

ILUS 306 F002 - Illustration Practices: Topics (6)

Thursdays, 12:30pm – 6:40pm, Fall 2017

Instructor: Jesse Garbe

Topic: Institutional Illustration

The discipline of Illustration encompasses a broad range of activities that often include work commissioned by public institutions, non-profit organizations and private enterprises. Through a series of directed and self-directed projects, students will be introduced to the rich variety of alternative contexts and environments that contemporary illustrators inhabit. Projects will identify potential causes, or clients, with a focus on using the model of the proposal to produce work in a variety of different mediums. Students will also be expected to explore the idea of praxis, or the process of connecting formal concerns with conceptual ones. Examples of topics and mediums that will be explored in class are; printed matter, posters, street art/ graffiti, murals, digital art, stickers and product surface design, such as one finds on skateboards, snowboards, album covers and t-shirts.

ILUS 306 F003 - Illustration Practices: Topics (6)

Fridays, 8:30am – 3:50pm, Fall 2017

Instructor: Jeremy Tankard

Topic: Book Illustration

This course in book illustration takes an in-depth look at the translation of the written word into a visual language.

Initially working from assigned texts students will be introduced to some of the unique issues specific to the ancient art of book illustration. From adult book covers to children’s picture books, from non-fiction to humour this course will touch on a number of genres. Students will work towards a more open, self-directed final project, exploring their own unique interest in book illustration (or a particular genre).

PHOT 306 F030N – Special Topics in Photography (3) or

VAST 310 F030N Visual Arts: Special Topics (3)

Mondays, 1pm – 7:20pm, Fall 2017

Instructor: Kyla Mallett

Topic: The World is Your Archive 

This special topics course is a 6-credit hybrid academic/studio course (HUMN 311 + VAST 310/PHOT 306), which focuses on current discourses on and around ideas of the archive and contemporary art. 

Over the last two decades, ideas of collecting, accumulating and archiving materials have made their way into established art practices, from exhibitions like Deep Storage (PS1, 1989) and Accumulated Materials (Vancouver Art Gallery 2005), to texts like Derrida’s Archive Fever (1995), Hal Foster’s An Archival Impulse (2004) and anthologies such as The Archive (Whitechapel Press, 2006). 

We will examine the relationship between ‘the archive’ and current art practices, and the emergence of archive-based practices, from straightforward photographic portfolios and artist’s books (Larry Clark, Steven Shore) to library-based artworks (Martha Rosler, The Reanimation Library) to constructed, fictional archives (Walid Raad, Susan Hiller, Ilya Kabakov), to alternative, classification-resistant, unruly archives, and so on.  We will look at a variety of ways in which artists engage with the idea of the archive from mining the personal to constructing the elaborate.

In this course, students will engage in readings and research, assignments and field trips, and the completion of a term project in which they consider traditional, creative and experimental approaches to engaging with ‘the archive’ with regards to their own art practice. This course is open to students from any area in 3rd year or above. 

IMPORTANT NOTE: PHOT 306/VAST 310 F030 & HUMN 311 F030 are LINKED so you must sign up for both. 

Please note this is also a Hybrid online/face-to-face course which means approximately 40-50% of the course will take place online using moodle. Students are expected to work online on parts of the course but also must be available to meet for the full scheduled class time. The schedule and expectations will be discussed in class.

MHIS 429 F001 - Topics in Film/Video Theory (3)

Fridays, 1:00pm – 6:30pm, Fall 2017

Instructor: Ariane Noël de Tilly

Topic: Time

Starting with a discussion of the 1960s cultural anxiety about temporality (what art historian Pamela M. Lee has called chronophobia), this course will consider different approaches of time (acceleration, fragmentation, stillness, slowness, extreme duration, real time, etc.) employed by artists and filmmakers in their work from the 1960s to the present. The artists and filmmakers discussed in this class will include, amongst others, Ousmane Sembene, Agnès Varda, Andy Warhol, Robert Breer, Tsai Ming-Liang, Wong Kar-wai, Hou Hsiao-hsien, Shigeko Kubota, Stan Douglas, Tacita Dean, Douglas Gordon, Janet Cardiff, Christian Marclay, and Yael Bartana.

NMSA 200 F001 – New Media + Sound Arts Core I: Topic (6)

Thursdays, 12:30pm-6:40pm, Fall 2017

Instructor: Julie Andreyev

Topic: The Expanded Self in Everyday Life 

The course explores how new technologies and new media practices can extend the senses and grow empathy. Methods include deep listening and expanded seeing techniques to explore our relationships with others, the city space, the earth. Students are asked to experiment with video, audio, interactive and mobile technologies, and deploy these investigations into a variety of new media practices, such as in video installation, sound walks, sound installation, new media performance. Students are afforded opportunities for research, reflection, analysis, iteration; feedback, discussion and reworking opportunities are encouraged throughout the course. The course includes field trips that inform research/production on projects, and visits to galleries/events to support knowledge of contemporary new media art. The course builds flexibility and adaptability into the syllabus in order to respond to student interest, abilities and expertise. 

PRNT 232 F002V & F003W – Print Media: Book Media (3) (cross-listed)

DESN 202 F002V & F003W – Strategies + Visualization (3)

Fridays, 1pm – 3:50pm, Fall 2017

Instructor: Beth Howe and Jon Hannan

Topic: Artist's Books and the Graphic Object 

This course is co-taught and will consider ideas of sequencing and structure in the translation of concepts into printed form through two lenses: artist's books and the graphic object.
The artist book module will examine the making, publication, and distribution of printed matter in the context of contemporary visual art practice. Students will acquire hand bookbinding skills and produce editioned and unique bookworks in relationship to their practices as artists and/or designers.
The graphic module will explore the role design has to play in delivering visual content through typography, image making and experimental print techniques. The generation of content may include personal responses to themes, spaces as well as other interactions and external influences.
In addition, the course may include collaborative projects, participation in book fairs, and relevant field trips.

PRNT 307 F001 / ILUS 306 F001 - Print Media Practices (cross-listed with ILUS 306) (6)

Tuesdays, 8:30am – 3:20pm, Fall 2017

Instructor: Diyan Achjadi

Topic: The Silkscreened Poster

At its most basic form, a poster is a printed piece paper, duplicated and publicly displayed in order to disseminate information to a broad public. Posters have been used throughout history as platforms for the distribution of ideas, for the notification of upcoming events, as well as for the promotion and advertisement of goods and services.  In this class we will explore the printed poster, particularly in its non-commercial contexts: as protest, as declaration, as art object, and as public intervention.  Lectures and presentations on the history of the poster, research projects into particular artists and/or aspects of the poster, and directed assignments will provide a context for students to develop an independent series of silkscreen-printed posters. No prior printmaking experience is required; the course will include instruction in silkscreen techniques.

SCLP 312 F001 – Sculpture: Special Topics (3)

Fridays, 8:30am – 11:20am, Fall 2017 

Instructor: Emily Hermant

Topic: Fiber Sculpture
This studio course examines the resurgence of fiber in contemporary art practice and provides a critical lens through which to examine issues of gender and labor, class, domesticity, utility and decoration, skill, time, process, value and production. The historical and theoretical content of the course will provide students with the necessary grounding to broaden their ideas about the role of fiber in contemporary sculpture practices. Students will learn about the histories that inform this initially utilitarian tradition, to an experimental, hybrid platform for artists to create dynamic, sculptural forms.  Students will be introduced to tools, materials and processes used to produce fiber-based sculpture. Through a series of assigned and self-directed projects, students will experiment with malleable, fibrous materials and construction methods such as weaving, knotting, plaiting, coiling, crochet and felt-making to create three-dimensional fiber structures. Research, readings, discussions, and critiques are an integral part of the course.

SOCS 300 F001 Studies in the Social Sciences (3)

Wednesdays, 4:30 pm – 7:20 pm, Fall 2017

Instructor: Pravin Pillay

Topic: Becoming Human: Creativity, Technology and the Evolution of Decentralized Culture

Given the accelerating development of exponential technologies that are disrupting major industries and shaping the social fabric of our species, emerging artists and designers are coming face to face with unprecedented creative and economic opportunities and challenges. Creatives from all disciplines who wish to thrive in the emerging technology oriented world need to develop the ability to think critically about technology and its social and political implications while developing pragmatic skills to wayfind through this new reality.

In order to understand the tectonic shifts that are redefining our culture and the definition of what it means to be human, we will examine the impact of AI, robotics, augmented cognition/creativity/reality, biotech and crypto currency- blockchain technologies on humanity as well as explore the tropes and artworks of post humanism, techno-utopia/apocalypse and the evolution of decentralized culture.

SOCS 300 F002 Studies in the Social Sciences (3)

Thursdays, 8:30 am – 11:20 am, Fall 2017

Instructor: Sanem Guvenc-Salgirli

Topic: Designing Data

What does the airport architecture has in common with  antidepressants?  Or Facebook algorithms with airport security? Or  your course evaluation forms with financial markets?  This course  is a quest to find the answers for these questions (and many more),  an invitation to take part in a thought experiment, and thus it  seeks volunteers to establish connections between these seemingly  distant elements.

At its core, this course aims to problematize and develop a  critique of the world of quantification that is found in fragmented  forms all around us.  It investigates these in its two forms, i.e.  big data and algorithmic models, and aims to understand how they  work in design, architecture, and healthcare. Underlying this  search is the observation that these forms need to be distinguished  and examined separately from forms of expert knowledge (including  but not limited to technocratic knowledge), not because they have  disappeared, or lost their importance in the organization of social  and political life.  Instead, the reason lies in the need to  develop analytical tools for an effective critique, which is only  possible by seeing the novelties in these fragments.

SOCS 330 F001 Photography, Society and Culture (3)

Wednesdays, 4:30 pm – 7:20 pm, Fall 2017

Instructor: Rob Stone

Topic: Photographs

This course is designed as a history of the continuing re-emergence of photography and the theories and remarks that have sought to explain its pervasive complexity. Structured in a series of questionable assertions about the nature of photography as a practice, the course approaches the continual coming about of photography as a form of knowledge which has philosophical, aesthetic, technical and political dimensions to it. 

We will look at the many different forms of documentary, landscape, portrait, sporting, military etc. photographies that have emerged since the inception of the camera. The Xerox, x-rays, the internet, digital manipulation, all of these things will inform our appreciation of photography, as well as its relationships to the body, to protest, to the land, warfare and all the other things that photography bears on.

VAST 400 F004 – Senior Studio (Open Studio) (6)

Wednesdays, 1pm – 7:20 pm, Fall 2017

Instructor: Kyla Mallett and Elizabeth McIntosh

Topic: Feminist Senior Studio

This Senior Studio course will focus on Feminist perspectives and discourses in relationship to students’ emerging practices and the field of contemporary art. This studio course will encourage self-directed work alongside inclusive and productive discourse from multiple perspectives on feminism. Students need not make work about feminist content; this is an Interdisciplinary Open Studio course: all practices and identities are welcome!

VAST 320 F001Q – Visual Arts Thematic I (6)

VAST 420 F001Q – Visual Arts Thematic II (6)

Tuesdays, 12:30pm – 6:40pm, Fall 2017

Instructor: Ingrid Koenig

Topic: Black Holes and Other Entanglements in the Studio

This interdisciplinary studio course uses science as a lens through which to view and speak about the current world and invisible forces of the known universe, interacting with these perspectives in the context of art practice. Students investigate and experiment with conceptual and material transformations that arise from being inspired, informed and mystified by phenomena in physics and other probing areas. The breadth of scientific fields to be encountered will depend on students’ individual research interests, while weekly topics address themes such as quantum particle behavior, biology and new materialism. The narrative of science contextualized in human experience, the abstract, embodied, misinterpreted, the complex rhizome, construction of knowledge, play of metaphor, connectivity, uncertainty, energy transformation, entropy, chaos theory, dark matter – these are all subjects for studio entanglements.

Students will participate in the Artist-in-Residence Program at TRIUMF, (Laboratory for Particle and Nuclear Physics with its cyclotron particle accelerator). Other field trips will include a new exhibition on the emerging field of art and neuroscience, and if time allows students will have a studio day at the Beaty Biodiversity Museum.

Students do not need a science background. What they do need is an open and flexible approach for an experimental trajectory of interactions.