Special Topics for Fall and Summer 2021

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.
  • This page was updated on: 07/13/2021

Fall 2021

3DAN 332 F031 – Collaboration in Digital Media
Hybrid class, Fall 2021
Fridays, 8:30-11:20AM
Instructor:  Woonam Kim
Topic:  Animation Production
Collaboration in Digital Media involves a collaboration-oriented and project-based approach towards digital media production, i.e. CG animation, video games, AR/VR/MR, and digital media projects.
For the fall semester of 2021, we will partner with an animation studio. Students will create a finished animation project based on client input, which will be showcased via social media outlets such as YouTube. Students will research and develop story and visual concepts, taking these concepts through many stages of pre-production and animation production process. Students will experiment with various aspects of creativity and exercise their critical thinking skills, while exploring aspects of idea development, production methodology and technology research, concept art creation, character design, animation creation, troubleshooting, and prototype / final production. Working with peers, students will create a final digital media project, while gaining valuable animation production experience on a professional project.
Open to all majors, including 2D animation, 3D animation, Illustration, Visual Arts, and Design.

AHIS 325 F091 - Studies in Modern Art
Online, Tuesdays, 8:30am to 11:20am, Fall 2021
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 328 F031 – Studies in Global Modernisms
Online, Mondays 12:30pm -3:20pm, Fall 2021
Instructor: Sadira Rodrigues

Colonial Symptoms | Decolonial Practices 
Museums and galleries have played an important role in how cultures and peoples from across the globe have been framed and represented. Many of the stereotypes that we retain today about other cultures have found their roots in art, exhibitions, museums practices and their colonial histories. This course will examine the ways in which exhibitions display and collections practices are part of the complex framing of other cultures. We will study the museum as a space of ritual, national identity formation and post-colonial imagination. In particular, we will examine the museum as a site of whiteness, coersion and “cultural brokering”, where the representation of cultures is often through a western, Eurocentric lens. We will spend the final part of the course examining exhibitions that challenge the limitations of this model and propose ways of proceeding into the future.

AHIS 408 F031 – Topics in Modernism
Hybrid, Thursdays, 8:30am - 11:20am, Fall 2021
Instructor: Art Perry

Topic: A FIELD GUIDE TO GETTING LOST: Modernism and Documentary Photography
One element of Modernism is the development of documentary photography. The Tate Modern explains that ‘Encouraging the public to look at less palatable aspects of contemporary society, photographers such as Walker Evans, Dorothea Lange and Helen Levitt presented photography as a form of historical evidence … these ‘documents’ directly reflect the surrounding world. Arguably, it’s this ‘realness’ that sets the medium of photography apart from painting.’

This AHIS 408 course takes its title from Rebecca Solnit’s book A Field Guide to Getting Lost. As Solnit says, ‘Certainly for artists of all stripes, the unknown, the idea or the form or the tale that has not yet arrived, is what must be found. It is the job of artists to open doors and invite in prophesies, the unknown, the unfamiliar.’ So, this course is about getting lost, allowing your creativity to be uncharted, on the move. The choice is a conscious one: choosing to get lost through travel or via unfamiliar thinking, so you exist in the unknown, in terra incognita. In practical terms, it’s allowing your creativity to roam free from theory, logic, from the comfort of geographical balance. Travels, journeys, being mobile, being a transient, art on the go, with a studio, no tether, and allowing chance to shape your art.

A Field Guide to Getting Lost focuses primarily on documentary and street photography. Studying the works of Robert Frank, Mary Ellen Mark, Helen Levitt, Diane Arbus, Bruce Davidson, Larry Clark and other photographers who engage unexpected and unstable situations, we will celebrate the act of living art.

CCID 200 / CCID 300 – Community Projects
Hybrid, Thursdays 12:30pm - 3:20pm, Fall 2021

Topic: Anti-Racism in the City: Impactful Storytelling for Social Change

Calling all students committed to creating concrete anti-racist social change in Vancouver, this course engages the City of Vancouver's COVID-19 Anti-Racism Response Plan, Anti-Black Racism Redress Plan, and commitments to the Calls to Action by the Truth and Reconciliation Commission of Canada as well as the Calls for Justice of the National Inquiry into Missing and Murdered Indigenous Women and Girls Call For Justice, towards developing understandings, narratives, and tools with the City's Arts, Culture, and Community Services Social Policy Project's Anti-Racism and Cultural Redress team.

In an experiential and collaborative studio setting, students will wrestle with and make sense of the overlapping histories, demographics, and power dynamics specific to our local urban context and propose actionable public education campaign concepts, through the lens of critical making and creative practices, that aim to:

--> enhance outreach to Indigenous populations to raise awareness and advocate for rights and freedoms;

--> acknowledge and communicate the consequences of hate and racism;

--> reduce fear and distrust among residents;

--> improve the physical and mental wellbeing of racialised peoples;

--> encourage community participation in public decision-making; and

--> exemplify caring and careful media portrayal of Indigenous, Black, People of Colour.

 This Emily Carr curricular partnership with the City of Vancouver will seed multilingual and accessible outcomes to reach a variety of audiences in the public realm.  Ultimately, this course activates students' reciprocal engagement with community and enables students to shape anti-racist messaging and programming in Vancouver.

CRAM 303 F031ZCeramics Practices: Topics (6 credits)

INDD 330 F031Z – Ceramics: Advanced (6 credits)
Hybrid class, Fall 2021
Tuesdays, 8:30am – 3:20pm
Instructor: Julie York

From Ground to Table
This class will work with the land, both as a source for harvesting clay materials and as a resource in food production.  Topics that surround food such as food sovereignty and food insecurities will be explored to develop subjects for production.  Students will explore techniques, ideas, and a vocabulary of form that relates to making ceramic objects in relation to the table.  

Various processes will be demonstrated, although wheel throwing will be the focus of this class in terms of production.  Students will experiment with techniques and materials to develop their ability to work with ceramics.  In addition to making, students will be asked to conduct individual research outside the studio to consider larger contextual issues and create a discourse around their personal interests through ceramic materials and tableware forms. 

Both functional and conceptual forms of making and thinking about tableware will be the focus.

DESN 350 F031N — Topics in Interdisc. Design: Motion Graphics // x-listed with ANIM-338
Hybrid class, Fall 2021
Tuesdays, 12:30PM-3:20PM PST
Instructor:  Ceile Prowse
Topic: This studio course introduces students to motion graphics concepts and visual effects techniques in the context of digital animation production. Creative projects in the course will incorporate complex layering, transparency and mattes, motion and timing, and the animation of text and visual effects. Through a series of presentations, tutorials, related assignments and projects, individual and group critiques, students will learn basic production techniques and develop an understanding of the process of creating motion graphics for video and animation.

FMSA 350 F031 – Special Topics in Film + Screen Arts
Hybrid class, Fall 2021
Tuesdays, 3:40PM-6:30PM
 Carlito Ghioni
Topic: VR-immersive Narrative and Factual Cine-making

The course provides students with the foundations for work in immersive narrative, factual and installation-oriented immersive formats, focused around 360° and CG-based VR experiences and emotional content. All students will be given a grounding in immersive techniques for story-telling, film-making, spatial sound recording and post-production techniques. Students will have access to 360° filming cameras and rigs throughout the course and be introduced to a wide range of the latest relevant equipment; relevant productions and artistic immersive pieces will be exposed and analyzed. Experts from across this emerging industry will be hosted, with a special focus on Spatial Audio/8D sound design; Spatial Audio describes any variety of techniques for simulating, manipulating and rendering acoustic sound-fields. Students are expected to be agile, attentive to the latest innovations in the industry and ready to be surprised each week with new possibilities in this space.

In addition the course also includes research and interview techniques, how to construct an immersive narrative and the ethics and different styles of immersion. The programme will also include writing and pitching project ideas and introduce the market and the financing opportunities for immersive media on various platforms. The course is designed to teach immersive camera, sound and editing skills in a context of enquiry into the social world, thereby questioning the role and manipulation of giants such as Google and Facebook; Alternatives are to be illustrated, providing students with a basic grounding in a game engine (probably Unity and Real-Engine) to allow them to explore interactive and CG/VR based factual and narrative storytelling. The fully immersive experience that VR provides makes it an excellent medium for storytelling and art creation, albeit it is still a technology seeking its own form. It is cinema prior to Ejzenstein or Western perspective prior to Masaccio or music prior to Blues.

FRMS 300 F091 – Art Forums (3 credits)
Online class, Fall 2021
Virtual Chat Wednesdays, 3:40pm – 6:30pm   
Instructor:  Emily Hermant
Art Talks! Lectures on Contemporary Art 
This course is centered on an interdisciplinary program of visiting speakers including artists, curators and cultural practitioners who will weave together presentations, discussions and/or workshops on studio-based, professional practices. The speakers will exemplify varied subject positions, content, methodologies, and presentation strategies. This course aims to expose students to a broad range of practitioners in the field of contemporary art, with an emphasis on national and international guest speakers who model a diverse range of art practices and who can unpack the realities of being a practicing professional artist in the 21st century.

The course provides a critical framework to discuss issues addressed by guest speakers, including topics such as gender and sexuality; the complex relationships among bodies and objects; text, language, and modes of material writing; identity, auto-ethnography and visual genealogy; and the politics and histories of place, among others. Class time will be spent attending these talks, and participating in related activities which may include engaging with visitors in Q&A, thematic and/or technical workshops, focused reading groups, studio visits, project critiques, community-based activities, and facilitated break-out groups.

HUMN 205 F091Perspectives in the Critical Humanities
Online, Fall 2021
Instructor: Aaron Peck

History of Aesthetics / Judgement as a Theoretical Grounding
A general introduction to the history of aesthetics, this course provides critical perspectives on how we understand what beauty is and on how we come to make judgments in the contemporary world. With readings from ancient Greece and classical China, up through the European enlightenment, into modern and contemporary Europe, Japan, and the United States, also considering Black and Indigenous perspectives, we will read excerpts from the works of the significant philosophers, critics, artists, and writers, who have contributed to aesthetic philosophy. The course also aims to make us all better thinkers about what we like and further explore how and why we come to like certain things over others, questioning how we judge such certain categories, as "the beautiful," "the tasteful," "landscape," "the good," "the sublime, “even "the aesthetic" itself. The questions we will ask include, what is an aesthetic experience? How do we define, describe, and judge it? What kinds of cultural, social, gendered, and historical experiences furthermore limit our understanding of the aesthetic? As a humanities class, it will also aim to help us practice our reading, writing, researching, and skills in textual and visual analysis. Suitable for all students with at least a second year standing, this material will be helpful grounding for students in all disciplines at Emily Carr, from visual arts and design, to cinema and new media.


HUMN 305 F031: Studies in the Humanities Studies in the Humanities
Hybrid, Fall 2021 September 7–December 18, 2021
Instructor: Anton Lee
Topic: Korean Art Since 1945—Modernism in the Postcolony
  The course examines the major movements of Korean art throughout the second half of the 20th century. While focusing on art practices and theories from the period, the class will be introduced to the economic, socio-political, and cultural issues in and around the Korean Peninsula since the region’s liberation from the colonial rule in 1945. There emerges an overlooked chapter of modernism and its afterlife on the periphery of the international art world, where the official narratives from the centers were at once revered and appropriated.
The syllabus is organized in chronological order: the localization of oil painting up until the 1950s; the pursuit of abstraction beginning in the mid-1950s; experimental group activities in the 1960s and 1970s; the prevalence of monochrome up until the mid-1980s; the dogmatization of socialist realism in North Korea; pro-democracy cultural activism during the 1980s; multiculturalism and the postmodern turn in the 1990s; globalization and diaspora after the 1990s. Every juncture reveals how local artists and critics propelled, abused, and challenged the notion of national identity in the postcolony divided along ideological lines.
No prior knowledge of the subject is necessary. This class takes the hybrid delivery format, requiring both physical attendance and online participation. Each week’s meeting on campus will include the instructor’s opening lecture, a team presentation on reading material by students, and free debates among participants. The online activities will mainly involve digesting the readings and preparing for the team presentation. As for assessment: each student will propose, develop, and complete a research-based creative project throughout the term; the progress will be marked at different stages and the final result will be shared with the entire class at the end of the term. 

HUMN 311 F091 – Visual Arts Seminar
Online, Fall 2021
Instructor: Art Perry
Topic: THE BEAT AESTHETIC: Poetics & Politics in Post-War Culture/Counterculture 

This HUMN 311 course deals with the art ... painting, poetry, novels, films, music ... as well as the social politics and hipness generated by outsiders, by being “cool”, by being “Beat”. The term Beat or Beat Generation comes from street talk of the late 1940s. It meant beaten. “The world against me” said Herbert Hunke, who introduced the term to William S. Burroughs, Allen Ginsberg and Jack Kerouac. The Beat Aesthetic studies the growth of Beat counterculture in America that gave rise to jazz musicians like Charlie “Bird” Parker and writers such as Diane De Prima, Leroy Jones (Amira Baraka), Kerouac and Ginsberg. Other artists covered in the course include John Cassavetes, Robert Frank, Diane Arbus, Laurie Anderson, The Fugs, Anais Nin, Bob Dylan, Lou Reed, Leonard Cohen, Patti Smith, Iggy Pop, The New York Dolls, Jean-Michel Basquait and Tom Waits. Dig it.

HUMN 311 F092 – Visual Arts Seminar
Online, Fall 2021
Instructor: Art Perry
Topic: THE BEAT AESTHETIC: Poetics & Politics in Post-War Culture/Counterculture

This HUMN 311 course deals with the art ... painting, poetry, novels, films, music ... as well as the social politics and hipness generated by outsiders, by being “cool”, by being “Beat”. The term Beat or Beat Generation comes from street talk of the late 1940s. It meant beaten. “The world against me” said Herbert Hunke, who introduced the term to William S. Burroughs, Allen Ginsberg and Jack Kerouac. The Beat Aesthetic studies the growth of Beat counterculture in America that gave rise to jazz musicians like Charlie “Bird” Parker and writers such as Diane De Prima, Leroy Jones (Amira Baraka), Kerouac and Ginsberg. Other artists covered in the course include John Cassavetes, Robert Frank, Diane Arbus, Laurie Anderson, The Fugs, Anais Nin, Bob Dylan, Lou Reed, Leonard Cohen, Patti Smith, Iggy Pop, The New York Dolls, Jean-Michel Basquait and Tom Waits. Dig it.

ILUS 208 F031 – Illustration Process: Topic (3 credits)
Hybrid class, Fall 2021
Tuesdays, 12:30pm – 3:20pm
Instructor:  Rozita Moini Shirazi
Miniature and Folk Art in Persia and East India  

This course is designed to introduce students to the philosophy of Miniature and Folk Art in Persia and East India from the 18th to the 21st Century. The power of narration through traditional Persia-India miniature and folk narrative art in different artifacts, like the Persian kilim/rug and miniature painting/illustration, Indian Gond art and other implements will be explored and practiced. The Persian and East Indian approach towards miniature imagery and text will also be explored. This course will place an emphasis on how visual storytelling connects life, beliefs, compassion and world view. Considering that, for Persian and East Indian cultures, visual expression and identity are tied together as collective and individual life stories. Hence for them, telling stories through colour, form, pattern, symbol and nomad has been an instrument to portray their pain and suffering as well as their love and glory for many millennia, as the region has over 5000 years of history in narrative art. The particular use of intuition with meticulous attention to detail has recorded history, culture, traditions, and the belief system of striving against forgetfulness has kept the nation concerted. The course will include research and compelling subject related practice.

ILUS 208 F091 – Illustration Process: Topic (3 credits)
Online class, Fall 2021
Virtual Chat Mondays, 8:30am – 11:20am
Instructor:  Vjeko Sager

Colour, Composition and Light Description

This course explores the use of Colour, Composition and Light in illustration, providing a comprehensive guide for using these essential image-making methods. Course offers lectures, demos, hands-on exercises and assignments which are designed to assist and guide students to investigate these principles and maximize the visual appeal of their images. Students will gain understanding how to best arrange compositional space, so that their illustrations express the desired message. They will become familiar how to articulate mood and atmosphere, maximizing the emotional impact. They will acquire understanding of colour, which will allow them to achieve suitable colour schemes. Students will explore the entire process of making successful illustrations, starting with thumbnail sketches, effectively perform colour studies over these thumbnails and explore multiple light sources to design dynamic and meaningful illustrations. By the end of this course, they will gain the experience of having completed several illustration projects, while receiving group and one-on-one feedback.

Outline Weeks 1 & 2 - Learning essential principles of composition in creating compelling illustrations. Understanding how to use basic rules to create simple and powerful compositions. Weeks 3 & 4 - Becoming proficient in choosing the correct lighting for your composition and learning how to best position light source to create the desired atmosphere and visual rhythm for your image. Weeks 5 to 6 - Attaining essential knowledge on colour theories, mixing and schemes. Exploring and apply principles of colour to your illustration. Learning how to use colour to create and manage mood, ambiance and emotional effects of your images. Weeks 7 to 14 - Experimenting, investigating and applying the skills required to successfully render composition, lighting and colour. Generating sketches, developing step by step essential image-making principles to create final illustrations.

ILUS 305 F031 – Illustration Genres: Topic (3 credits)
Hybrid class, Fall 2021
Wednesdays, 8:30am – 11:20am
Instructor: Sarah Green

Topic: Children’s Books

Children's book illustration is a multifaceted genre, with topics spanning historical biographies to fairy tales, merging character design with imagination and world-building. In this class, through an emphasis on critique and analyzing successful works in a range of visual styles, you will develop a portfolio of images for a career in books. With practical workshops on how a picture book is designed and made, what you need for a pitch, the business side of publishing, and the discourse of the industry, you will also leave this class prepared to work with an editor or publisher. Other topics will encompass book covers (including middle grade), graphic novels for young readers, how to search for an agent, and other relevant subjects. Assignments will include (but are not limited to) re-imagining classics, making a sample book-dummy, and designing a book cover.

ILUS 306 F031 – Illustration Practices: Topic (6 credits)
Hybrid class, Fall 2021
Wednesdays, 8:30am – 3:20pm
Instructor: Daniel Drennan ElAwar

Illustrated Narrative

This class will expansively and holistically approach the illustrated book form, focusing on comics and graphic novels. It will emphasize readings and research into linguistics, literary and cultural theory, as well as economic and political history. It will reference related media such as music, cinema, and literature; as well as popular cultural forms, both formal and informal. The class will engage students in a full analysis of the mediation, potential, and substance of their work, as well as their audience and use of media to visually manifest a narrative of their creation.

The aspects of form examined in the class will include:

Historical: An overview of cultural and historical precedence to the medium;

Narrative: An examination of storytelling and narrative styles and how they have an impact on manifestations of image and text;

Structural: A study of the internal aspects of time, space, pacing, and rhythm, and their precursors in as well as similarities to other cultural forms such as film;

Pictorial/material: An exploration of appropriate technique, craft, medium, and base;

Literal: An introduction to the craft of bookbinding, and the various cultural traditions related thereto.

ILUS 306 F092 – Illustration Practices: Topic (6 credits)
Online class, Fall 2021
Wednesdays, 12:30am – 6:30pm  
Instructor: Jesse Garbe
The Collector: Objects, Spaces and Storytelling

How are our personal experiences influenced by the homes, apartments, and spaces we inhabit? To what degree are our lives defined by our books, toys, comics, movies, clothing and other mass-produced objects from popular culture and everyday life? Illustrators and artists have long responded to their immediate surroundings as a starting point for projects, using approaches ranging from storytelling, to editorial images, to invented worlds. 

In this course, students will explore how their personal spaces and collections can inspire new and inventive ways to build their illustration practices. Through a series of projects, presentations, videos, and readings, the class will engage with the spaces and objects that surround them. A variety of creative responses will be explored, including methods ranging from notebooks, drawing spaces from memory and touch, to the use of found objects. The course will culminate with a longer investigative project that could take forms such as artist books, illustrated stories, concept art or narrative paintings.

ILUS 306 F091 – Illustration Practices: Topic (6 credits)
Online class, Fall 2021
Fridays, 8:30am – 3:20pm
Instructor: Amory Abbott

Illustration in the Digital Age

In this topics course, Illustration in the Digital Age, we will be addressing the rising use of digital technologies in modern day illustration. Assignments in this course will utilize digital applications like Photoshop and ProCreate as a primary media, and explore how they can be combined with traditional "analog” media. Critical discourse on the use of digital applications will help students navigate the benefits to workflow, and the consequences of its efficiency. Short-deadline “rush” projects will challenge students to match the pace of professional freelance illustration, and explore concept art, character design, comics and graphic novels, editorial illustration, and publication. An intermediate knowledge and access to digital applications is necessary for this course.

MDIA 300 F031 – Media Thematic (6 credits)
Hybrid class, Fall 2021
Fridays, 8:30am – 3:20pm
Instructor: Julie Andreyev
Topic: Media, Sound, Ecology

This hybrid course explores media and sound practices through the lens of multi-species creativity. Students are invited to expand their senses, perception, and knowledge through techniques of co-creation with natural systems and nonhuman life. The course blends off-campus field work with online seminars, technical workshops, reflections and discussion.  Technical workshops offer skills in field recording (including ambisonic recording and 360 photography and video), sound editing and composition, cinematography and video-editing, and electronics. The course includes an optional collaborative project with musicians from Vancouver New Music (VNM), building and using portable transducers to hear, record and compose with electromagnetic fields found in outdoor locations. Students will have the option to include their projects from this collaboration in a public exhibition or festival opportunity programmed by VNM. The course supports both media students who want to focus on video, sound and immersive practices, and visual art students who want to integrate media approaches into their art.


MDIA 300 F032 – Media Thematic
Hybrid class, Fall 2021
Wednesdays, 12:30PM-6:30PM PST
Instructor:  Matilda Aslizadeh
Topic: Hybridities

Hybridity is a methodology of looking at the world in a dynamic and dialectical way that acknowledges the complex interdependent relationship of different forces. This interdisciplinary production course will encourage students to combine methods from various media practices and other art practices, to confront themes that arise from the tension between opposing forces, and to examine non-traditional dissemination methods for their works. Specific forms of hybridization explored include immersive spatialized experiences, site specific projects, the integration of live and mediated elements, collaborative generation, emergent genres, and generic mutations across disciplines. As we are working in a unique time, with traditional production methods of dramatic and documentary content being more difficult to follow, students will be encouraged to incorporate appropriated materials into work and the course will focus on media creation as a studio practice. Teaching methods include screenings, field trips, exercises, individual and collaborative projects, and assigned readings exploring a variety of critical, aesthetic, technical, and ethical issues that are concerned with hybridity. Students will have regular critiques, and a tight timetable in which the projects must evolve from concept to completion. Students continue to refine their critical vocabulary, analytical and technical skills required for preparation for 4th year grad productions. 


MDIA 300 F033 – Media Thematic
Hybrid class, Fall 2021
Thursdays, 12:30-6:30pm PST
Instructor:  Carlo Ghioni
Topic: Drama Lab
This course focuses on concept development, pre-production and directing dramatic productions and the preparation needed to be able to do so with effectiveness and appropriate personally unique style. Both traditional and unconventional open narrative structures and their applications for film, digital media and immersive experiences will be examined. Dramatic scripts and films will be analyzed and broken down through table read and shot design/staging rehearsal in studio,  their components examined for purpose and intent, character driven structures are to be considered and explored in details; specific focus will be addressed to international and foreigner models and  cinematic pieces, from Asian, African and West and East European cinemas; attention to the musical symphonic approach to script development and directing is also to be explored, with a specific classes and exercises on both a traditional structured Beethoven’s model as compared/opposed to an open-circular Sibelius’s. The impact of sound design, music scoring in terms of style and spotting and the visual color partition to be achieved with grading are also covered during the post-production stages of the process.
Students will implement directing producing concepts in their own films and class exercises aiming at forging their own personal style and related signature.  They will audition and cast their own talent aiming at workshopping one scene of their script during a 2-day Filmmakers-shoot, which builds upon the previous experience of the Instructors’ shoot, as each filmmaker rotates in various positions on set, while the rotating director is be allocated 2 full hours, to first rehearse and thereupon shoot/cover the entire scene. The final dramatic film will further develop from the set staging experience and from the relationship developed with cast actors. Crewing up is to occur within the class and will laid out the groundwork for the sense of community and cooperation for future productions, mainly students’ capstone project at 400 level.


MHIS 405 F031R – Topics in Contemporary Photography (3 credits)

MHIS 405 F091R – Topics in Contemporary Photography (3 credits)

Hybrid class, Fall 2021
Mondays, 12:30pm – 3:20pm
Instructor: Arni Haraldsson

The Transitioning Image

In this course students will investigate topics and issues relevant to photography today, with particular emphasis on ‘The Image’. Topics examined will range from photography’s changing role in relation to new technologies in an ever-expanding digital world, to a consideration of the medium’s increasingly complex applications and its diverse users. Aspects of a ‘transitioning’ image will be looked at closely, from the ‘stilled’ to the ‘migrating’ image, conceived as a platform for both the reception and projection of meaning. The emphasis throughout will centre on current applications and critical thinking about the medium within art and society. Course material will be delivered through a variety of formats, including slide lectures, videos, discussions of selected readings, and seminars related to students’ research. This course will also enable students to reflect on and contextualize their own practice in relation to both historical and contemporary debates within photography and other reproductive technologies.  

NMSA 305 F031M - Special Topics in NMSA (3 credits)

VAST 310 F031M - Special Topics in NMSA (3 credits)

Hybrid class, Fall 2021
Thursdays, 8:30am – 11:20am
Instructor: Julie Andreyev

Topic: Making Art with Trees

This interdisciplinary hybrid course explores art, media and sound practices through collaborations with trees. Students are invited to slow down, spread out, and expand their senses and perception, with the aim to develop a greater connection to trees in their vicinity. Students are introduced to a variety of interspecies co-creative methods with trees including observing and listening, writing, drawing, photography, video, and sound art. Classes consist of field workshops in park locations around the city, combined with online seminars, reflections and discussions. Students will engage in a series of experimental assignments that may inform one self-directed project.

PHOT 323 F031 – Photography Practices: Topics (6 credits)
Hybrid class, Fall 2021
Thursdays, 8:30am – 3:20pm 
Instructor: Birthe Piontek

Topic: Capture x Emily Carr: The Photographic Exhibition

This course will focus on the conception and production of photographic projects for an on-campus exhibition during Capture Photography Festival 2022. 
The curriculum has two main objectives: the development of individual projects in response to the exhibition's theme and the enhancement of students' professional practice. Regular dialogue with Emmy Lee Wall, director of Capture Photography Festival, will support students' artistic production and provide feedback on critical aspects of a professional art career. 
Through group critiques, discussions and one-on-one meetings, we will discuss projects and all aspects of writing – from the initial exhibition proposal to the curatorial statement and individual artist statements – as well as budget planning, research, and exhibition strategies. 
Furthermore, visits with guest curators and field trips to in-town photography facilities will deepen the understanding of contemporary photography practices and their relationship to exhibiting institutions.

PNTG 315 F031 – Painting Practices: Topic (6 credits)
Hybrid class, Fall 2021
Wednesdays, 12:30pm – 6:30pm 
Instructor: Patrick Cruz

Decentering Painting

This hybrid course will explore the unique potential of painting in a time of globalized crisis. Responding to the topic of site and memory, our class will consider various methodologies to reframe and resist definitions of painting, from the personal to the political. We will investigate how our experiences relate to sites and how specific places become jumping-off points for creative interpretation and rupture. We will delve into our personal and collective pasts, seeking insights into how our histories relate to our present. We will consider painting as an expanded field as we find innovative ways to approach the medium.

PNTG 316 F091 – Painting: Special Topics (3 credits)
Online class, Fall 2021
Virtual chat Thursdays, 12:30pm – 3:20pm 
Instructor: Damian Moppett
Topic: Plein Air Painting

‘Plein air’ painting is a traditional practice of painting outdoors. Throughout history, landscape painters have used plein air sketches as models for larger works, or as final works in their own right. In this course, we will connect with the rich history of plein air painting as a means to connect students with their environment, to unhinge the practice of painting from the studio, and to reconsider their practice in a mobile and adaptive format. This class will delve into the history of plein air painting, looking at how various artists have used it as part of their oeuvre, and we will consider the history of these practices through a critical lens. We will consider how traditional plein air approaches can offer strategies applicable to contemporary painting practices. 
This class will focus on sketching and painting in oil, outdoors, without using photography as source material. Basic and advanced techniques of working with oil paint will be covered, from mixing colours to composing an image. Painting in this format will provide challenging way for students to improve their painting and observational skills. Painting outdoors will sharpen your skills and quicken your painting technique. This class will increase your confidence and your ability to think and paint on your feet.
This class is an online class with mostly asynchronous activities, with some opportunities for group critiques and conversations as decided with the class. Assignments, tutorials and other course activities will be delivered through a variety of formats, including video tutorials, individual video meetings, and group discussions and critiques. Students will be painting on location over the course of each week.

PRAX 300 F031 – Dialogues With: Curatorial Practices (6 credits)
Hybrid class, Fall 2021
Fridays, 8:30am – 3:20pm
Instructor: Patrik Andersson

Topic: Dialogues with Curatorial Practices

This third year PRAX course offers the opportunity for students to develop their own intersection between theory and practice within the field of curating. Students will acquire critical vocabulary for understanding and situating their own interest in exhibitions within a historical and contemporary context. This will be done through research, interviews, studio visits, and group discussions of pertinent writings and exhibitions. Individual and group presentations of research related to their area of practice will also make up the course. This course is meant as a laboratory environment in which to explore student's own interests while situating them within a broader discourse, professional and practical realm. They will learn skill sets related to completing curatorial projects such as developing the scope, content and idea of an exhibition as well as integrating this research and knowledge in the form of studio visits, interviews, press-release and catalogue texts, design and finally an exhibition. Students will be expected to lead class discussions on related topics. Weekly meetings will allow for critiques of self-directed studio projects, discussion of assigned readings, and presentations of research projects.


PRNT 207 F031 – Special Topics in Printmaking (6 credits)
Hybrid class, Fall 2021
Wednesdays, 8:30am – 3:20pm
Instructor: Mark Johnsen

Plates and states

In this course, students will be introduced to each major area of the print studio, including lithography, silkscreen, etching, and relief. Within these processes, the matrix or plate holds constant as the carrier of information, though it can be altered infinitely to depict, disrupt and examine an array of states. 

By addressing concepts of originality, value, dissemination, publication as well as traditional and contemporary printmaking, this hybrid course will simultaneously engage students working in each medium. Students will be introduced to the basics of these mediums as well as the functioning/communal environment of the print studio. 

This class provides the opportunity for students to be introduced to each area of the print studio while diving into the specificity and technical elements of printmaking as an all-encompassing medium. Following a rotating schedule, 4 main projects will be introduced and taken over by 4 groups of students concurrently inhabiting each area of the print studio. This class is structured to fully engage the entire print studio while providing focused access to each area’s facilities and resources.

PRNT 305 F031 – Print Media: Special Topics (3 credits)
Hybrid class, Fall 2021
Fridays, 12:30pm – 3:20pm
Instructor: Osvaldo Ramirez Castillo

Topic: Storytelling as Mode of Resistance

Stories have the capacity to influence and reinvent perspectives unlike any other form of creative communication. In this course students will explore and research contemporary narrative ideas, meanings, connections and complexities to develop personal imagery within cultural, historical and political contexts.
Through presentations, discussions and critiques, we will examine a range of print practices that use storytelling as a form of protest, subversion, disruption, resilience and creative liberation. Directed assignments, demonstrations and individual support will provide a context for students to execute research projects, and develop a personal language in their independent studio based-work. Print processes may be used in conjunction with drawing, painting, digital media and other media approaches as desired. The class is open to all students regardless of previous printmaking experience, accommodating beginning and advanced skill levels.

VAST 220 F031 – Visual Art Studio: Topics (6 credits)
Hybrid class, Fall 2021
Fridays, 8:30am – 3:20pm 
Instructor: Christine Howard Sandoval

The Mobile Studio: Adaptive Art Practices in a Changing Environment

This 2nd year studio course is composed of two distinct projects that engage with adaptive, found, and collaborative forms of contemporary art making. We will consider what it means for the artist studio to be an open space, a public space, or a space of interiority and domesticity through discursive analysis of artists who have located their practice outside of the traditional studio using and creating techniques that are based on where they are. Students will respond to assignment prompts through medium(s) of their choosing, using available materials and following their artistic interests. Students will take inspiration from their immediate surroundings, whether it be the household, a neighborhood, or an imagined space. Activities could include gathering material found near home, sourcing stories from friends or families, or working with media students are consuming in their own lives. The mobile studio will serve as a vehicle for an exploration of what it means to develop an art practice in our current historical moment. Assignments will include the production of self-guided art work, readings, and individual research. In class engagement will include slide lectures, discussions, and group workshopping of projects.

VAST 313 F031 – Visual Arts Projects (6 credits)
Hybrid class, Fall 2021
Fridays, 8:30am – 3:20pm 
Instructor: Gabrielle Hill

Heart of the Matter: Material Investigations in the Studio 

In this course, each student will be asked to choose an easily sourced, everyday material to work with, to research, and to experiment with as an art medium. The material may be personally significant or important to the student’s practice, or it may be something that simply interests the student. Students will be encouraged to consider their material from many angles, including the material's history, its economic life, and how it comments on or interacts with traditional art mediums. The students will also be introduced to the work of artists and writers who consider the philosophical and formal possibilities of materials, for example Sḵwx̱wú7mesh artist Tracy Williams, who sees materials as teachers; Okanagan artist Krista Belle Stewart, who carries a container of dirt from her home territory wherever she travels; Kara Walker, whose monumental statue, A Subtlety, was built with sugar; and Tau Lewis, who speaks of the “energies” held by the found objects that are central to her art practice.

The research and experimentation conducted by the students will feed into a studio project that will evolve over the semester. Students from all areas of visual arts are encouraged to enroll, as project work could range from weaving to an artist book to a large-scale installation. Students will be guided to uncover exciting approaches to content in their artwork and to use their investigations to create robust studio work. Students will reflect on their explorations through writing, creative assignments, and a presentation.

WRTG 301 + WRTG 401  – Special Topics in Writing
Online, Tuesdays, 8:30am – 11:30am, Fall 2021
Instructor: Jacqueline Turner
Topic: Autoconceptualism: Developing Reflexive Writing Practices to Create Collective Action
Autoconceptualism, autotheory, autoethnography, biotext, fictocriticism, fictionanalysis  — how do we write in compelling ways about ourselves? We’ll explore these terms to expand the potential for autobiographical work and to see how we can use the materiality of language to reflect our multiple and diverse realities. Engaging in critical and creative research methods, we’ll determine how to contextualize and situate both lived and imagined realities in ways that make space for readers. We’ll use tenets and techniques from The Anti-Racist Writing Workshop to decolonize the creative classroom as Felicia Rose Chavez indicates, “advancing humility and empathy [instead of] control and domination.” We’ll work together to gauge how readers are making sense of our writing lives, and we’ll gather in small and larger groups to support each other in building up a significant body of writing. We’ll examine various case studies in the autoconceptual realm and hear from practicing Canadian writers working in this way as part of the On Edge Reading Series connected to this class. How do we make ourselves known? Let’s work together to find out.

 Students can register for 301 for 3 credits or register in 401 for a total of 6 credits. The classes will be distinct, but will overlap to extend workshopping potential and allow for both compatible and contrasting groupings in hybrid and online forms.

Summer 2021

AHIS 201 SU91 – Global Perspectives in Art
Online, Wednesdays 4:30 -7:20pm, Summer 2021
Instructor: Sarah Shamash
Topic: Cosmopolitical technologies of resistance: an interdisciplinary approach to Brazilian (Afro and Indigenous) media and embodied art practices
How do Afro and Indigenous artists resist in the face of an ongoing production of coloniality - heteropatriarchy, predatory capitalism, ecocide, genocide and racism (in Brazil and across the Americas)? We will examine Afro and Indigenous art making and worldings in Brazil in order to better understand their ontological politics of resistance, difference, and radical relationalities to mother earth. The majority of this course will center on Indigenous film and video in Brazil with a few classes dedicated to Afrobrazilian art and culture. We will investigate how these artists, activists, and media makers oppose, resist, and denounce the defuturing projects of powerful and oppressive forces in the country. We will consider how they offer visionary, sustainable, and modern cosmovisions for the future of our planet. Lectures, selected artworks, screenings, guest presentations, and discussions, will help frame our Latin American centric focus. We will be guided by the artists (i.e Mbya Guarani Cinema Collective, Kuikuro Cinema Collective, Preta Performance) and their works, as well as Black feminist thought (Gonzalez, Ribeiro, da Silva), Indigenous cosmologies (Kopenawa, Krenak, Terrene), media theory (Cordova, Salazar, Raheja), and decolonial thought (Cusicanqui, De la Cadena, Escobar) from Abya Yala and Afroamerica Latina.


ANIM 350 SU91 – Special Topics in Animation
Online class, Summer 2021
Thursdays, 9:00AM-11:50AM
Instructor: Leslie Bishko
Topic: 2D Character Rigging
This course teaches students how to build a digital 2D character using a hybrid approach that blends puppet and frame-by-frame animation techniques. Students will adapt character designs using vector drawing methods, and explore design strategies towards building puppets that look and feel like characters animated frame-by-frame. At the end of the course, students will have a completed character puppet to animate for future projects, and will have the design and technical skills needed to build more puppets on their own.

CCID 201 SU91E, CCID 301 SU91E + HUMN 300 SU91E: Critical Practices Workshop

– Social Practice + Community Engagement
Online, Summer 2021
Instructor: Laura Kozak, with Mickey Morgan + Jean Chisholm
 Practicing Neighbourly Responsibility
Learning within the context place - that is, within active social, institutional and ecological dynamics on unceded territory - how might we collectively determine our learning space; critique and trouble hierarchical and exploitive structures; and take up the work of neighbourly and place-based responsibility? Drawing from mutual aid practices - responding to the immediate needs and concerns of a community, in conjunction with social movements demanding transformative change - this class is intended to be emergent and responsive, extending over the summer to better respond to needs and pace of community work, taking up the following questions:           

  • What are our responsibilities, reciprocities and commitments to the land that we are guests on?
  • How can we as individuals and also as a collective take up the responsibility of contributing to the places where we are? What can each of us offer?                              
  • What would a creative, artistic, and design practice look like if it were in service of relationships? (Inversion of relationships forming in service of an outcome or deliverable)               
  • What does a learning space collectively determined by instructors and students look like?                             
  • How do we support each other and build community within a class?
  • How do we think about and create community as a cultural consciousness?       

We will explore these questions with neighbours from our community who are engaged every day in place-based responsibility through their work and ways of living: Indigenous artists and ethno-botanists; community organizers, activists and social workers; gardeners and waste remediators; front-line workers in housing and housing advocacy; advocates for cultural labour; and artists engaged with land and material. 

In trying to understand what kind of infrastructure is useful or necessary to support this work, we aim to explore a model that can coalesce and disperse when needed, embracing the spirit of a collective: a flexible network of people with independent practices converging to respond to and create a shared experience or intervention. Through exploring, enacting, and connecting place-based approaches to collaboration, we are attempting to move from scattered fragments of siloed disciplines and projects, and black-boxed, bureaucratic hierarchies, towards a networked mesh of emergent grassroots relationships, knowledge and capacity sharing, and action.

*To welcome the group to this course, we are planning to host initial gatherings on Monday, May 10 and May 17 from 11:00 - 1:00 PST. There is also an option for asynchronous participation in these gatherings should students not be able to make that time.*

COMD 350 SU91 – Topics in Communication Design
Online class, Summer 2021
Thursdays, 1:00PM-3:50PM
Instructor:  TBC
Topic: Bi-scriptual Typography
Bi-scriptual Typography will explore the relationship between language, typography, culture and diversity in the context of contemporary communication design.
Through a combination of discussions, readings, informal exercises, out-of-class activities, walks and observations, students will explore the possibilities of working in an inter-lingual and inter-generative space of communication design. In particular, students will explore how an idea can be expressed and modulated across different languages, scripts and cultures. A series of projects will draw upon past learning in typography and communication, with students expected to investigate various ways of gathering, assembling and analyzing visual materials and urban typography.

CRAM 204 SU31A Ceramics: Special Topics (3)

CRAM 304 SU31A Ceramics: Special Topics (3)

Hybrid class, Summer Term 1

Virtual chat Wednesdays & Fridays, 1pm-3:50pm 

Instructor: Jen Woodin

Topic: Material Investigations in Clay 

In this course students will gain a deeper connection and understanding of the materiality of clay by exploring various properties of clay that inform content, form, and surface.  Through investigation and experimentation of various clay bodies and processes, we will study and consider the stages of clay and what results arise from testing material language. Over the term, students will choose various handbuilding techniques paired with select processes to produce refined skill sets for conveying the context of their work.  Additionally, students will increase conceptual and practical knowledge for an expanded ceramics practice. Experimentation, concept, risk taking and creative vision are important aspects of this coursework.

DESN 350 SU91 – Topics in Interdisciplinary Design
Online class, Summer 2021
Saturdays, 9:00AM-11:50AM
Instructor:  Dimeji Onafuwa
Topic: Designs for the Pluriverse
This three-credit elective course focuses on the practice and theory of designing with multiple perspectives. Students will engage in immersive educational experiences that broaden their perspective as well as provide them with actionable skills and methods for designing with difference in mind.
We are in unprecedented times. The effects of our consumption are felt all over the world, and we are facing different kinds of resource scarcity and widespread global problems. An approach to design that is driven only by consumerism will further lead us down the path of unsustainability. Shifting to a different paradigm of design, one that expands our understanding of use beyond the needs of the individual, can redirect l to enable our living together with our companion species. Drawing on non-western epistemologies we can decouple design from use, which has led to an obsession with the user. At its core, design is about reframing a problem space.
The designer is sometimes perceived as a problem-solver who ignores more fundamental, collective needs, and swoops in to provide users with behavior-modifying, technology-driven, short-term "solutions" that may lead to broader negative consequences. Can we instead equip emerging designers with pluriversal tools that will enable them to think and act differently, as co-participants, embedded in the problem space, and working at all angles to surface the right interventions?
This interdisciplinary design elective will challenge the Western centric design perspective. It will explore what it means to reverse that course for design in the Anthropocene age. Students will explore case studies, engage with different design research methods and tools, respond to short design prompts, listen to lectures, and participate in critiques that all combine to reveal a pluriversal way of designing. Outcomes will include the design of human-scale interventions and reframing problems in ways that account for often unheard voices. Students will learn to adapt processes to relevant projects using resources currently available to them, including their access to the internet, tools, materials, and supplies.


DESN 350 SU31 – Topics in Interdisciplinary Design
Hybrid class, Summer 2021
Wednesdays, 1:00PM-3:50PM
Instructor:  Zach Camozzi
Topic: Outdoor Practices
This roving* field school will take Emily Carr students to local green spaces to engage in a range of design activities that supports wellbeing, attention to nature, place-based making, and openings to land based practices. Making outdoors can inform us of our relationships to the natural world, but a practice outdoors will inherently impact everything about our way of life. Including the decisions we make and the designs we continue to privilege in our day to day. Dirty hands, wet knees, deep observation and a panoply of sensory experiences will be encouraged. Sitting, walking and movement practices will be explored. Students will create many projects, that may include earth art, Earthbound Prototyping, Design for Biodiversity**, and storytelling/story-sharing. Students will be given the opportunity to work beyond the disciplines of graphic, industrial, and interaction design. Collaborative projects are encouraged, but optional.
*inspired by a collective of 2021 graduating industrial design students called the roving designers https://rovingdesigners.carrd.co/

DRWG 215 SU31 Drawing: The Human Figure (3 credits)

Hybrid class, Summer Term 2

Virtual chat Tuesdays & Thursdays, 1pm-3:50pm 

Instructor: Neil Wedman  

The study of drawing involves continual practice and some considerable dedication to direct observation from life, in this case the human figure. It is this subject, drawing from the model, that offers a great deal of variety, human dynamic and an appreciation of the empathy – the sympathetic placing of oneself in the position of the subject - required to draw with meaning. To these ends we will explore the usual studio exercise of gesture, contour and weight as well as some anatomy, some portraiture and some more challenging projects addressing a broader understanding of figure drawing and drawing in general as basic to the full spectrum of visual expression.

Because this course is to be conducted as a combination of remote teaching and live in the studio, the studio time will be spent working with models while the online sessions will be devoted to presentations, special home assignments and critiques.

The exact division of studio time and online presence will be determined and announced in good time at a later date.

FMSA 350 SU91 – Special Topics in Film + Screen Arts
Online class, Summer 2021
Wednesdays + Fridays, 1:00PM-3:50PM
Instructor: Devan Scott
Topic: Colour Grading in Da Vinci Resolve

Ideal for media majors and those interested in deepening their creative skills in working with time based visual forms, this hands-on studio course provides a comprehensive introduction to the world of colour grading with industry standard software DaVinci Resolve. Through exploration of historical, theoretical and practical pathways, we'll systematically break down the process of designing a film or media art project's colour palette through all stages of production, learn to integrate an online colour grading workflow into post-production workflows, and, more significantly, how to manipulate the images that we capture on film set/location in a colour grading environment. Each week, students will be assigned specific tasks designed to build one's familiarity with the tools that colourists use day-to-day, as well as an analytical eye for colour as a tool of expression in film and media art.  This is an online class and students will be expected to install the free version of Resolve and download the required course materials weekly. Some editing experience is an asset, but not required. Instructor Devan Scott has worked as a cinematographer, colourist, and director for ten years with film industry professionals, independent filmmakers, and media artists.   As a cinematographer, his work has screened around the world at the Toronto International Film Festival, Locarno Film Festival, Clermont ISFF, and Busan IFF among many others. As a colourist, his clients have included Google, Film Boldly, the Vancouver Canucks, the NFB, Wondershare, and Global Media. As an artist on the autism spectrum, he aims to find new ways in which to better represent the sensory and emotional experiences of neurodivergent individuals through the development of visual and aural textures.

HUMN 305 SU91 – Studies in Humanities
Online, Thursdays, Summer 2021
Instructor: Su-Anne Yeo
Topic: Race + Resistance in British Colombia
This course takes the 150th anniversary of British Columbia's joining of the Canadian federation as an opportunity to critically reflect on the historical oppression and contemporary survival strategies of Indigenous, Black, and other racialized communities. It analyzes the ways in which settler colonialism in BC drew upon particular practices shaped by British imperialism and American slavery, for example in the dispossession of Indigenous land and the dis-enfranchisement of non-White people. Yet it also highlights the ways in which grassroots activism by racialized communities has challenged racist norms and helped to shift public discourse away from a centring of Euro-American ideals, and towards a more pluralistic and open vision of society. By drawing lines of connection between current events and social movements, such as the Wet'suset'en actions, Black Lives Matter, and campaigns again anti-Asian racism, and historical patterns of governance, the course asks us to contemplate what has changed since 1871, and what might yet happen to achieve social justice.


HUMN 306 SU91 – Studies in Humanities : Design
Online, Tuesdays + Thursdays, Summer 2021
Instructor: Avery Alder
Topic: Awakening Transformation Through Roleplaying Game Design

We enter into play by means of an alibi, but what we experience in the game has the potential to bleed into our real lives. Game systems reflect real world systems, sometimes reifying and other times subverting, always daring players to engage in new strategies within a magic circle. What transformative possibilities are embedded within that dare?

This course will examine tabletop roleplaying game play and design through the lenses of dramaturgy, critical pedagogy, transformative learning, and playful curiosity. Participants will play solo and group roleplaying games, share reflections on what they encountered through play, and design their own response games. Tabletop roleplaying game design calls upon creators to wed discovery and construction in unique ways. This course asks questions with no fixed answers: What does play make possible that other interventions cannot? When do constraints breed creativity and when do they stifle it? When and why should games engage the serious and the personal?

HUMN 305 F031: Studies in the Humanities Studies in the Humanities
Hybrid, Fall 2021 September 7–December 18, 2021
Instructor: Anton Lee
Topic: Korean Art Since 1945—Modernism in the Postcolony
The course examines the major movements of Korean art throughout the second half of the 20th century. While focusing on art practices and theories from the period, the class will be introduced to the economic, socio-political, and cultural issues in and around the Korean Peninsula since the region’s liberation from the colonial rule in 1945. There emerges an overlooked chapter of modernism and its afterlife on the periphery of the international art world, where the official narratives from the centers were at once revered and appropriated.
The syllabus is organized in chronological order: the localization of oil painting up until the 1950s; the pursuit of abstraction beginning in the mid-1950s; experimental group activities in the 1960s and 1970s; the prevalence of monochrome up until the mid-1980s; the dogmatization of socialist realism in North Korea; pro-democracy cultural activism during the 1980s; multiculturalism and the postmodern turn in the 1990s; globalization and diaspora after the 1990s. Every juncture reveals how local artists and critics propelled, abused, and challenged the notion of national identity in the postcolony divided along ideological lines.
No prior knowledge of the subject is necessary. This class takes the hybrid delivery format, requiring both physical attendance and online participation. Each week’s meeting on campus will include the instructor’s opening lecture, a team presentation on reading material by students, and free debates among participants. The online activities will mainly involve digesting the readings and preparing for the team presentation. As for assessment: each student will propose, develop, and complete a research-based creative project throughout the term; the progress will be marked at different stages and the final result will be shared with the entire class at the end of the term.  

 HUMN  307 SU91 – Studies in Humanities
Online, Tuesdays + Thursdays, Summer 2021
Instructor: Elvira Hufschmid
Topic: ‘Transcending the Human/Other-than-Human Divide’
 A posthuman discourse in Western philosophy conceptualizes humans as relational subjects of knowledge which are entangled in the non-human world by presuming its inherent agency and acknowledging an intrinsic interrelationship. Posthuman thought rejects a claim of anthropocentric superiority and refuses to set humans above creation in ethical considerations. When engaging in this discourse, we have to keep in mind that long before the invention of the term ‘posthumanism’ North American indigenous ontologies have addressed indigenous people’s comprehensive practices and forms of knowledge in reciprocal connection to the land and to other-than-human persons, thereby, de-centering human’s position within a non-hierarchical concept of creation. In what ways are these discourses relevant to environmental conservation efforts which are undertaken in a settler colonial context? What does ecological restoration and multispecies relationship building entail if we consider the perspectives and interests of the land, the plants, or the animals? What does it mean that law makers grant a river personhood?
In this course we will embark on a joint journey of reviewing our own relationship to the living earth while studying theoretical concepts of how we imagine our being-in-the-world. By keeping the question in mind how those concepts impact ecological restoration endeavors, we will contemplate decolonial approaches of restoring and protecting what we conceive as ‘nature’ with guest speakers, artists and researchers. We will also investigate the forms of how human/non-human relationships can be expressed through art making.

This course is set up for asynchronous as well as synchronous teaching which means that students in different time zones can participate in the class without joining the weekly meetings but instead may contribute through our online Moodle web page

HUMN 311 SU91 – Visual Art Seminar
Online, Wednesdays, Summer 2021
Instructor: Lauren Marsden
Topic: Archipelagos
This course topic takes its cue from the term archipelagraphy, a methodology introduced by literature scholar Elizabeth DeLoughrey for the articulation and remapping of relations that continuously emerge among and in-between islands. It is a call for the collective and continuous realization of fluid identities in archipelagic territories in opposition to colonial conceptions of the island as a self-isolated utopia, an echo of the empire, or as a derivative of the mainland. By looking at the island as “a model, rather than simply a site,” the contents of this course will explore how artists understand the notion of islands as diasporic, geographic, and experiential formations.[1] The concept of “islands” will be considered as more than just definable landmasses but also as social/cultural situations, such as moments of interactive isolation or a chain of related but discrete objects. This is an interdisciplinary course and the work we produce and study may manifest as material considerations, performances, collective practices, moving images, sounds, designs, or writings that engage the entanglements of one island to the next. A primary question this course will ask is: In what ways might we envision our communities, locations, and material worlds as archipelagos?

[1] Elaine Stratford et al., “Envisioning the Archipelago,” Island Studies Journal 6, no. 2 (2011): 114.

ILUS 305 SU91 Illustration Genres: Topic (3 credits)

Online class, Summer Term 1

Virtual chat Tuesdays + Thursdays, 9am – 11:50am

Instructor: Jesse Garbe

Topic: The Techniques of Mythology
Mythologies surround us. They are present in every form of contemporary consumer culture. But how exactly do they infiltrate, impact or influence our daily lives and social relations? And how has technology changed our relationship to myth?

In this course, students will explore these questions through a series of online projects, presentations, and student lead readings. Projects will be divided into three sections of investigation: Oral traditions, the advent of the printing press, and digital devices. A variety of creative responses will be explored, including methods ranging from, verbal storytelling and its relationship to puppetry, paper cut-outs, at home methods of reproduction (lino and mono prints), to the use of photocopiers and pixels as drawing tools. The course will culminate with a longer investigative project that will investigate how traditional activities, such as storytelling, paper crafts and drawing, can inspire new and inventive ways to build an illustration practice.

INDD 350 SU31 – Topics in Industrial Design
Hybrid class, Summer 2021
Tuesdays, 1:00PM-3:50PM
Instructor:  Helene Day Fraser
Topic: Decolonizing Design's Material Practices
This exploratory, interdisciplinary, course invites students to reconsider assumed prototyping strategies and production processes commonly used in Design.
Drawing on insights from decolonial scholarship and applying embodied making as means of reflection, students will identify and consider their own individual affinities for particular aesthetics, materials, and modes of assembly. Collectively they will propose and develop strategies for delinking from aspects of material practice that bolster longstanding and arguably problematic colonial/modernist strategies embedded in Design and the design process.
Asking: how do we do? why do we do? what is needed?
The aim of this investigative summer studio is to find new ways to make - meaningfully. Insights from this body of work are intended to be shared with the Emily Carr Design Community - to seed further ongoing iterative development of new Design approaches that directly address the concerns of our time.

NMSA 305 SU91 Special Topics in NMSA (3 credits)

Online class, Summer Term 2

Virtual chat Tuesdays + Thursdays, 1pm – 3:50pm

Instructor: Lauren Marsden

Topic: Performing the Virtual

Using historical and contemporary examples of performance practices as a framework, this course will explore emergent, networked, and digitized conditions that artists are facing today. The coursework includes technical, creative, and critical exercises that provide students the opportunity to develop new digital and online performance works in a variety of platforms. Assignments will be based on a range of themes and techniques such as virality and memetics, gender performance, cross-generational interaction, ASMR, filters/apps, fakes and impressions, influencer and celebrity behaviour, captioning, and the archival impulse.

PHOT 306 SU91 Special Topics in Photography (3 credits)

Online class, Summer Term 2

Virtual chat Wednesdays + Fridays, 9am – 11:50am

Instructor: Farah Nosh

Topic: Documentary Practices
With a background in documentary photography, Farah Nosh will share her approaches to documentary practices learned through two decades of photographing globally.  The course’s core elements will be approaches to photography as chronicle of everyday life.  With a focus on visual narrative translation, we will look carefully at the role and responsibility of representation.  The course offers both practical and ethical conversations around documentary methods.  We will explore the crucial elements of finding your voice through approaches to shooting and editing your work. Every Friday, students will be given a photography assignment revolving around everyday life, the work will be shared and discussed collectively every Wednesday.  The assignments will be catered to working around the constraints of our current COVID-19 pandemic, with personal safety being a course requirement.  The history of documentary photography and the photographers renowned for their work, along with assigned readings will be allotted for Fridays classes. 
Students will gain greater confidence in photographing moments as they unfold by building a photographic practice that pushes through self-limitations.  Each student will be encouraged to develop their practice to the next level, constantly analyzing how their practice evolves into the professional sphere.

PNTG 316 SU91 Painting: Special Topics (3 credits)

Online class, Summer Term 2

Virtual chat Tuesdays + Thursdays, 9am – 11:50am

Instructor: Neil Wedman

Topic: Language Painting

This course focuses on making paintings that incorporate text and letterforms into their compositions. Sometimes plainly legible or often singularly abstract the incorporation of words and letters into pictures has a wide potential for meaning more expansive than ordinary signage. Projects in this class will revolve around Concrete Poetry, Asemic Writing, automatic writing, spirit slates, cut-ups, collage and graphomania as ways of forming a visual expression.  Mediums will range from oils to acrylics to watercolour, those along with supports will largely be determined by the individual in response to specific assignments.

This course will be entirely conducted online and it is hoped that this particular theme, it’s considerations of pure form and explicit meaning will be well suited to working in semi-solitude of our moment.     

SCLP 312 SU31 Sculpture: Special Topics (3 credits)

Hybrid class, Summer Term 2

Virtual chat Tuesdays & Thursdays, 9am – 11:50am 

Instructor: TBA

Topic: Politics and Approaches to Sustainability in Sculpture + Material Practice

Summary: This hybrid (online/in-person) course will introduce open-source, diy approaches to creating biomaterials for sculpture and material practice. We will frame our hands-on material explorations within histories, policies, and contemporary conditions of race, environmental pollution, waste management, and resource extraction. Through an active process of research and material engagement, students will explore the complexities inherent within sustainability practices and the broader politics of ecology and geology. The course will include hands-on demonstrations of biomaterials, research, readings, discussions, writing exercises, and critiques.

WRTG 201: Writing Across the Arts SU91 Writing Across the Arts
Instructor: Juliane Okot Bitek
Topic: Writing a way through these momentous times.
“Imagine otherwise. Remake the world. Some of us have never had any other choice.”
--Christina Sharpe from “Lose Your Kin”.

With this provocation from scholar Christina Sharpe, we will read, think and write alongside artists and writers from different genres and contexts who use their writing to resist oppressive power and reclaim a space in the world. Students will be encouraged to develop their writing practice as a way to articulate and explore their research concerns in visual arts, media and design.

*Having witnessed Zoom fatigue among students and faculty in 2020-2021, the Faculty of Culture + Community is actively articulating synchronous meeting hours in Summer 2021 offerings. While this course has reduced synchronous class hours per week, it is matched with an equivalent number of asynchronous engagement hours per week, so students can expect to invest 6 - 8 hours per week on materials and activities related to this 3-credit course.