Special Topics for Summer 2016 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 InsideEC, the information on InsideEC 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.

Summer 2017

AHIS 333 SU01, SU02 + SU03 Interdisciplinary Forums (3)

Tuesdays and Thursdays, 9:00am – 11:50am, Summer 2017 (Term 2)

Instructor: Phil Smith

Topic: Popular Culture and the Arts of Persuasion

From its inception (usually tied to the beginnings of cinema), the persuasive power of popular culture was apparent. Initially relying on a more direct and propagandistic (in the neutral sense of the word) approach, by the 1950s more subtle techniques of persuasion, often linked to psychological protocols and visual art processes, began to be interpolated, giving rise to the realization of popular culture’s alternative potential as a “soft power”.

Accordingly this course will examine this evolution from the 1890s to the present, beginning with a general overview of the framework and forms of popular culture before narrowing the focus to an examination of these arts of persuasion within some specific mediums, film, animation, advertising, comics, television, and popular music being some of the possible areas of discussion.

These perspectives will be explored through lectures, screenings, and guest speakers as well as in the seminars that follow each lecture. Participants in the course will be encouraged to consider these arts of persuasion both as a critical foundation for evaluating today’s popular culture and, if desired, to also consider interpolating some of these persuading techniques into their own practice, whether it be art, design or media-based.

AHIS 336 SU01 – Hist. + Contemporary Movements (3)

Tuesdays and Thursdays, 1:00pm – 3:50pm, Summer 2017 (Term 2)

Instructor: Dr. Ariane Noël de Tilly

Topic: Art and Revolution

This special topic course will focus on the role and function of art during several revolutions since the French Revolution, including the Russian Revolution, the Mexican Revolution, the Cuban 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 in these periods of revolution. During 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.

CCID 202 SU02C + CCID 302 SU02C – Fieldwork: Topics (3)

Mondays and Wednesdays, 9:00am – 3:00pm, Summer 2017 (Term 1)

Instructor: Justin Langlois

Topic: LandMarks 2017: On Site

Students will be responsible for attending pertinent parts of the LandMarks exhibition in Stanley Park from June 10-25, including project installation and take-down, and performances or workshops, as required.

This course builds upon an innovative partnership, linking students to a nationally synchronized set of courses and exhibitions exploring critical themes related to present-day environmental and climatic crises, the legacies of colonialism, and the complex relationship between nationhood and cultural identity. Students do not have to have taken the Spring 2017 LandMarks course to participate -- everyone is welcome.

LandMarks is a network of collaborative, contemporary art projects across Parks Canada places during the 150th year of Canadian Confederation. Using art as a catalyst for discourse and social change, LandMarks looks forward, and provides an opportunity to imagine, to speculate, and to invent our futures through the eyes of artists, art students, communities, and through the spirit of the land.

This course will introduce students to a wide range of contemporary practitioners, critical perspectives, and opportunities for creating new artwork in public spaces. As a core part of this course, students will participate in an exhibition in Stanley Park from June 10 - 25, and will work collaboratively and individually to realize new public projects. Students will have unprecedented access and resources to curators, professional artists, and opportunities for sharing their work with wider publics, as this course will be directly linked with the nationwide LandMarks exhibition. You can find out more about this project at www.landmarks2017.ca.

CCID 202 SU01A + CCID 302 SU01A – Fieldwork: Topics (3)

Tuesdays and Thursdays, 1:00pm – 3:50pm, Summer 2017 (Term 2)

Instructor: Ashley Guindon

Topic: The Art of the Mural: Community Engagement on a Grand Scale

Working as a creative practitioner in the public realm is tremendously rewarding, but there are so many details to consider that the very idea of a public practice can be intimidating. How does one balance creative expression with community expectations? What are the logistics involved in translating a work from an idea into a completed neighbourhood landmark? Is all the coordination and risk worth the eventual reward? This class offers students an opportunity to directly engage in practice-based coursework by producing a wall mural in the Vancouver neighbourhood of Marpole. Students will have the chance to engage in all aspects of a public art mural project; including design, partnership building, community engagement, project management, and installation. This is an opportunity to develop practical experience working in the public realm and explore new approaches for understanding audience, engagement, and negotiation. Students will also be involved in the production of other Emily Carr University murals in progress as part of the Vancouver Mural Festival This class will be an off-site experience based in the Oak Park Fieldhouse - a chance to take practice beyond the classroom and into the community. Class sessions will be active and varied, with workshops, student-led activities, site visits, planning sessions, discussions of current practice, and lots of painting. Assignments will integrate studio and professional skills and be applicable for students across departments and levels.

DHIS 310 SU90 Online Course – History of Canadian Design (3)

Required: Live Chat two times each week – Tuesdays and Thursdays, 7:00pm – 8:00pm, Summer 2017 (Term 1)

Instructor: Sam Carter

Topic: History of Canadian Design 

The history of Canadian design and craft provides insights into development of applied arts in Canada from earliest times to present. This broad based survey course explores the regions of the Circumpolar Arctic, Atlantic, Quebec, Ontario, Prairies and Pacific. Founding Nations, European, Asian and other contributors to Canadian craft and design will be explored. Key Canadian individuals and their contributions to design and craft in will acknowledge and encourage greater awareness of Canadian content. Communities, governments, and industries noted for their influences and promotion of Canadian design will be discussed. The course will encourage greater understanding of both ‘folk’ and ‘academic’ theories of applied arts in Canada.

ENGL 201 SU01 – Writing Across the Arts (3)

Mondays and Wednesdays, 1:00pm – 3:50pm, Summer 2017 (Term 1)

Instructor: Tara Wren

Topic: Designerly Ways of Writing

We will explore different designerly methods of writing, using design studio practices to make written work. Visual techniques like mind-mapping can connect designers more deeply to their writing, making writing a natural part of the design process. We’ll draw examples and insights from interdisciplinary sources, and develop personalized writing practices that focus on making user-centred texts. Discussion and assignments will focus on forms of writing specific to the design program.

While this course focuses on writing for design, developing a designerly way of writing is a practice useful for students from all critical and studio disciplines. 

ENGL 201 SU02 – Writing Across the Arts (3)

Tuesdays and Thursdays, 1:00pm – 3:50pm, Summer 2017 (Term 2)

Instructor: Tara Wren

Topic: Maker Culture 

We are bombarded daily with messages imploring and commanding us to buy things, not just because we might need them, but because they promise to make us cooler, or better, or more enviable people. It's not just do you use an iPhone or an android, but are you an iPhone or android person? Some people are dissatisfied with this consumer culture, and are coalescing around a maker culture. Maker culture isn't just about making things - it's about making things you are not good at making. We so often focus on gaining knowledge and expertise in just a few areas - but what happens when we make things we are decidedly NOT expert at?

Students will be asked to plan and make something they have never made before (cupcakes? a videogame? a shirt? a map? a watch? perfume?). They will document and share their process and project with the class, then consider their experience as an inexpert maker.

This class is suitable for students at all levels who wants to improve their critical reading and writing skills or engage with the above topic. Readings will be drawn from both design and visual arts perspectives.

HUMN 307 SU01 – Environmental Ethics (3)

Tuesdays and Thursdays, 1:00pm – 3:50pm, Summer 2017 (Term 1)

Instructor: Cameron Cartier

Topic: Special Food Edition

In this particular course we will consider the influence and impact of human relationships to the land, the sea, our watersheds, and the non-human (animal, plant, mineral)—in short, to the ecological systems that we depend upon. We will explore the space between ecological ethics and environmental justice, as well as what constitutes an ecological praxis in the process of exploring ethics as an open question, an ongoing dialogue, an ability to listen and to respond with reflection, creative acts, design possibilities and lifelong learning.

In this special Summer 2017 edition of environmental ethics, we will consider these environmental issues through the lens of food. This will be a “hands-on” approach to our environmental relationships with numerous site visits, food projects, and cultural exchanges.

HUMN 311 SU90 – Visual Art Seminar (3)

Online, Summer 2017 (Term 1)

Instructor: Merritt Johnson

Topic: Art, Culture, Body, Community, Land

This course invites students to pursue and expand their current work in connection to containers in any and all forms including physically and symbolically. The course will consider bodies of knowledge and containers of culture including but not limited to books, film, art objects, images, actions, songs and performance. The course will consider both Indigenous and Colonial understandings and engagement with containers, and invites the participation and contribution of students from all backgrounds working in all media and material. Students are expected to expand their studio work through active engagement with the ways our work holds information and ideas, and the possibilities and responsibilities of artists and makers to create and open containers of knowledge and vision.

HUMN 311 SU91 – Visual Art Seminar (3)

Online, Summer 2017 (Term 2)

Instructor: Merritt Johnson

Topic: The Body and the Body Politic: subsistence, migration, invasion, occupation, collaboration, coercion, resistance and coexistence

This course invites student to consider the physical bodies of living things (human and otherwise) in relation to the political body of the Nation/State. Students from all backgrounds are encouraged to research, explore and create work that connects them to this relationship, past, present or future. The course will consider both Indigenous and Colonial understandings and engagement with the Body Politic and the body, and invites the participation and contribution of students from all backgrounds working in all media and material. Students are expected to expand and deepen their studio work through research and practice, and through engaging with course questions, reflections, and conversation via online forums.

HUMN 311 SU92 – Visual Art Seminar (3)

Online, Summer 2017 (Term 2)

Instructor: Felicia Gail

Topic: Intimate and Immense: Regarding The Poetics of Space

Throughout the journey of the course, Intimate and Immense: Regarding The Poetics of Space, each student will consider a contemporaneous take on the artist’s socio-political, and meta-physical sense of place through the reading and interpretation of Gaston Bachelard’s, “The Poetics of Space.” We will discursively consider how we, as makers, interpret meaning from conceptual and applied translations of intimate and immense space through the context of multi-disciplinary works in text, visual art, and aural exposition, simultaneously asking the question, “how do we communicate the offline experience of artistic practice with the online representation as such?”As a pivot point for what will be an intersubjective course, we will contemplate topohilia (from Greek topos, “place” and -phillia, “love of”), paying special attention to the chapter, “Intimate Immensity.”

In this course each student will participate by documenting site-specific location readings with image capturing, free-writing, as well as forum discussions. Each student will complete assigned and proposed projects based on each student’s practice using the required text as a road map. Supplemental readings will include authors such as: Carol Mavor, Rebecca Solnit, Susan Stewart, and selected poets and other art writers.

Required text(PDF provided): Gaston Bachelard, “The Poetics of Space: The Classic Look At How We Experience Intimate Places.”

ILUS 208 SU01 – Illustration Process: Topics (3)

Monday and Wednesdays, 1:00pm – 4:15pm, Summer 2017 (Term 2)

Instructor: Mariam Libicki

Topic: The Narrative Figure

A sequential artist 'acts' through figure drawing. A figure in narrative must draw the reader's attention, and hold it in sympathy, disgust, identification or curiosity. If 'art' is the successful creation of an intentional emotion or thought in another person through a work of imagination and insight, (as defined by children's book editor Cheryl Klein), then the figure is the narrative artist's main messenger of those emotions. Without the use of movement, the figure in sequential art must further communicate time, and its effects.

In this class, we'll explore techniques from comics/manga, animation, caricature, life drawing and creative writing to create strong, intentional storytelling figures for any narrative art form.

ILUS 306 SU01B – Illustration Practices: Topics (6)

Tuesdays and Thursdays, 9:00am – 3:50pm, Summer 2017 (Term 2)

Instructor: Skai Fowler

Topic: Scenic Painting

This course is an introduction to the materials, media and techniques used in scenic art. It is primarily geared towards students with an interest in pursuing a career in the film and theatre industry; but it is suitable for those with little or no experience in scene painting. The course will introduce various scene painting techniques such as faux finishing, tromp l'oeil amount others.

PNTG 315 SU01B – Painting Practices: Topics (6)

Tuesdays and Thursdays, 9:00am – 3:50pm, Summer 2017 (Term 2)

Instructor: Skai Fowler

Topic: Scenic Painting

This course is an introduction to the materials, media and techniques used in scenic art. It is primarily geared towards students with an interest in pursuing a career in the film and theatre industry; but it is suitable for those with little or no experience in scene painting. The course will introduce various scene painting techniques such as faux finishing, tromp l'oeil amount others.