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Fall 2012 Courses: 300 Level

41431 | 303A Core: Interdisciplinary Concentration Seminar

Estrada/ Helling/ S'eiltin (5 credits)


Materials fee: $ 7.20

Prerequisites: FAIR 101a, FAIR 201a, FAIR 203a, FAIR 305a. Required of students in the Interdisciplinary Concentration.

Note: If you began at Fairhaven during Summer quarter and did not take 101a, contact Kathy Johnson for an override.

Note: Required of all students pursuing the Interdisciplinary Concentration as their major. The Concentration Proposal must be completed and filed at least three quarters before graduation.


This seminar is designed to assist you with your development and writing of an interdisciplinary self-designed concentration. It will serve as a forum for discussion, guidance, and support during the proposal writing process. While your Concentration Committee must finally approve your proposal, you will work collaboratively in small groups, meeting with each other weekly, and meeting with the instructor individually in order to write your learning proposal and identify relevant courses and experiences to help you achieve your educational goals. Here are some of the questions we will examine through this process:

- What are the appropriate guidelines and requirements involved?

- What exactly is it you want to achieve in your degree?

- How can your intentions be given effective shape and form?

- Who should be on your committee? - How do the parts of your concentration work together conceptually?

- What are the best vehicles for your learning?

- What should you put in and what should you leave out of your concentration?


Text: Handbook provided.


Credit/Evaluation: Work steadily on your proposal, meet regularly with your group, contribute to the development of your group members' proposals, work cooperatively, prompt attendance to all meetings. Credit for the course is granted when your completed committee-approved proposal has been filed with the Fairhaven Records Office and a regular self-evaluation form is submitted to the instructor.


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40927 | 305a Writing and Transition Conference

McClure (3 credits)


Prereqs: FAIR 101a and FAIR 201a


The Writing Portfolio and Transition Conference are Core graduation requirements for all Fairhaven College students. Your WRITING PORTFOLIO will be a selective collection of your academic writing and an introductory statement of self-assessment about your writing at this point in your education. It will be reviewed and assessed by two Fairhaven faculty, including your advisor. Your TRANSITION CONFERENCE is a constructive mid-point conversation with advising resource people you invite to share your educational plans and collect advice officially moving you from the "Exploratory" stage of Fairhaven's program into the "Concentrated" stage of your educational plans, regardless of your choice of major. You should embark on these requirements when you and your faculty advisor agree you're ready for them.


This is not a class, however YOU MUST ATTEND ONE OF THE FOLLOWING ORIENTATION MEETINGS: TUESDAY, OCT. 2ND , 3 P.M. OR WEDNESDAY, OCT. 3, 11 A.M. (meeting location will be sent via email to registered students and posted at Fairhaven College).


In order to receive credit for FAIR305a you must:

1)Submit your Writing Portfolio & 2 copies of green Writing Portfolio Evaluation Form to Jackie McClure by Wednesday, October 17. Writing Portfolios must follow the format outlined on the green Writing Portfolio Instructions and Evaluation Form (available on the FAIR 305a blackboard and in the Fairhaven College Office.)

2)Schedule and conduct your Transition Conference and write your Transition Conference statement and submit it to all conference participants. Consult your faculty advisor and the yellow Transition Conference form for details.

3)After your Transition Conference, submit your Transition Conference form to Jackie McClure with the signatures of all participants.


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43758 | 311b The American Legal System

Montoya-Lewis 5 credits


Prerequisite: Fair 203a or Social Science GUR or permission of instructor.

Materials Fee:$11.00



What is justice? Do the legal systems of the United States provide it? This course is an introduction to the federal, state and tribal legal systems. We will look at the common law (cases written by judges), statutes, and the U.S. Constitution. Over the course of the quarter, students will learn how to read and analyze cases and statutes and use legal reasoning techniques to make legal arguments. We will consider the role of attorneys and judges in society and the role of the legal system in society as one of our most critical institutions. Throughout the quarter we will ask how/whether the legal systems provide access to justice.


In this course, we will focus on the development of a particular line of cases that address a single issue. By the end of the quarter, students will have a thorough understanding of a series of cases and be able to analyze the possible directions the U.S. Supreme Court might take in upcoming cases on a similar issue. We will look closely at how changes to the make up of the Court impact the analysis of legal issues.


This course is a required prerequisite for all upper division law-related courses taught by Professor Montoya-Lewis and Professor Helling and is a requirement for both Law, Diversity and Justice majors and minors.


Texts: INTRODUCTION TO LAW, Beth Walston-Dunham. There will be a course reader required for this course as well (available at the bookstore). A legal dictionary is also required, any will do, including Black's Law Dictionary or Barron's.


Credit/Evaluation: In order to receive credit for this class, every assignment must be turned in. In addition, excellent attendance will be required (missing more than two classes may result in no credit). Evaluations will be based upon successful completion of assignments, attendance, and class participation.


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43970 | 324h Poetry and Lyric

Eaton (4 credits)


Materials fee: $6.85

Prerequisites: Fair 202a or equivalent or poetry course.



Poets and songwriters both use the word lyric, but they often mean very different things. The words stand-alone in a poem, often presented visually on a page, while in a song, melody, rhythmic and harmonic choices join the words to create a new whole. Originally the distinctions between poetry and musical lyrics were not so carefully drawn (Sappho's work was sung) and today these distinctions are again being blurred as rap, hip-hop musicians and spoken word artists blend poetry and music in a variety of forms. The distinctions are becoming both harder to define as the two forms create a continuum of creative expression.


In this class we will explore both poetry and song lyrics, searching for the similarities and differences of compositional intent. Together we'll read, listen and write to discover how the constraints and conventions of form shape poems and songs. As there is no clear formal discipline that examines these connections, we'll engage in a joint inquiry by tackling some of these questions: Can a poem be a song? Can a musical lyric stand on its own as poetry? How do poems and song lyrics use images and sonic devices to tell stories or present intense, subjective, highly compressed emotions? How do the repeated rhythms and sounds of language evoke a "musical" experience? Is a good poem set to music a song? Do good song lyrics possess the same aesthetic merits as poems? How do the forms affect the reader? The writer? We will also explore questions related to how beat, vibration and resonance may shift the experience of the listener or performer both emotionally and physically.


Texts: THE POET'S COMPANION by Kim Addonizio & Dorianne Laux and varied handouts and websites posted on Blackboard. You will also need access to books of poetry and CDs with songs, as we'll be reading poems to each other, listening to songs, using them to explore the questions we generate.


Credit/Evaluation: Attendance at all sessions prepared to explore the questions that are raised by the readings. Willingness to fully engage in writing exercises both in and out of class and to share your work with others in the class. Participation in an honest and caring critique of both the novices and pros. Development of a Final Portfolio and a class presentation on some aspect of your final portfolio


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42318 | 332q Topics in Ecological Restoration

Tuxill (4 credits)


Prerequisites: Fair 206a or equivalent, a course in biology or ecology, and an upper level standing or instructor's permission



Long-term solutions to our present-day environmental problems involve not just conservation of the natural world, but increasingly the restoration of ecologically healthy landscapes and communities. This course introduces students to the science and practice of restoring ecological systems. We will examine the implications of ecological theory for understanding how natural landscapes change under the impacts of human activities. We also will review case studies where shifts in natural resource use and environmental policies have helped restore the ecological health of forests, rivers, grasslands, and other ecosystems. Students will gain practical skills by working collaboratively to plan, implement, and evaluate an ecological restoration project at a local field site. As part of the interdisciplinary focus of this course, we also will connect our scientific understanding to social, philosophical, and psychological meanings of ecological restoration as experienced by individuals, communities, and cultures.


Texts: Reading assignments will be drawn primarily from scientific journals and distributed via Blackboard.


Credit/evaluation: Regular attendance and informed contribution to discussions is essential. Evaluation will be based on each student's grasp and understanding of the issues presented in the readings. Students also will: 1) work in teams to research, plan, implement, and evaluate an ecological restoration project locally; 2) document their restoration work with a written final report and oral presentation; and 3) complete at least 3 hours of service learning (i.e. one afternoon) with a local or regional conservation organization involved in ecological restoration.


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41664 | 334c International Human Rights



Materials Fee: $16.15

Prerequisites: Fair 203a or instructor permission



This course examines the idea of human rights, its historical, philosophical and legal origins. It explores the notion of universal rights and examines the relativity debate. It will introduce students to rights that are guaranteed and selective substantive rights will be examined - civil and political rights; economic, social and cultural rights, and other classes of rights. Other considerations include national, regional and international institutions created to supervise implementation of and compliance with those rights. It will also consider the role of non-governmental organizations and activists who seek to enforce human rights.




Credit/Evaluation: Evaluation will take account of regular attendance, evidence of critical reading, engagement in class discussion, the quality of short reactions, and two assignments.


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43338 | 334f International Law

Akinrinade (4 credits)


Materials Fee: $18.00

Prerequisite: Fair 203a or permission of instructor


Note: This course is also offered as INTL 334


This course is an introduction to public international law, which governs the relations of States and increasingly, other non-State actors, including individuals and organizations. The course will cover the basic doctrines of public international law and the international legal system. Topics to be covered include the law of treaties, international organizations, international courts and dispute settlement, international law and the use for force. Other topics include issues of self-determination, environmental protection, international human rights and international criminal law. These principles will be applied to contemporary issues of international law and international affairs. This survey course will help students gain an understanding of the main principles of international law, its role in international affairs and how it influences, directly or indirectly, the conduct of States, how past events have helped shaped contemporary international law and how international law is responding to emerging issues around the world, thus serving as a tool for legal analysis of contemporary events in the world.


Texts: INTERNATIONAL LAW: CASES AND MATERIALS (2009), by Damrosch, Lori F., Henkin, Louis, Murphy, Sean D., & Smit, Hans INTERNATIONAL LAW FOR INTERNATIONAL RELATIONS (2010) by Cali, Basak


Credit/Evaluation: Evaluation will take account of regular attendance, evidence of critical reading, engagement in class discussion, the quality of short reactions, and two assignments.


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43950 | 336b Topics in Social Issues: Population, Health and Environment

Schwandt(4 credits)


Materials fee: $13.73

Prerequisites: Fair 203a or equivalent or permission of instructor



"the power of population is indefinitely greater than the power in the earth to produce subsistence for man." - Thomas Malthus, 1798


Exploring Malthusí premise through a lens two centuries later, students in this course will learn the primary factors influencing population growth: births, deaths and migration, and apply this knowledge to understand global population dynamics. Topics will include the demographic transition, the youth demographic gift, population aging, rapid urbanization and the effect of HIV/AIDS on population growth. Links between population, health and the environment will be emphasized throughout the course, such as the effect of rapid population growth, especially urbanization, on environmental degradation, as well as the effects of environmental degradation on human survival.


Texts: Readings on each topic from popular and technical sources will be assigned and posted (there is no textbook for this course)


Credit/Evaluation: Students will be evaluated on their preparation for and participation in course discussions. One group assignment will involve researching and preparing an argument on a selected population topic for an in-class debate. One culminating individual research presentation and final paper (8-10 pages) on the past, current and projected population dynamics in one selected country.


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43739 | 336b Topics in Social Issues: Water

Osterhaus (4 credits)


Materials fee: $ 13.73

Prerequisite: Fair 203a or equivalent



Water is precious and sustains all life on earth, and increasingly, water is seen as a critical global resource issue of the 21st century. Internationally, the United Nations declared 2005-2015 as the Water for Life Decade and March 22 as World Water Day to bring awareness and action in securing access to clean water and to protecting the earth's finite resource, water. This class will research and examine the human and ecological situations of the deepening water crisis affecting communities globally, nationally, and locally. We will look at the forces, such as the privatization of water, climate change, pollution, and consumption, that are impacting the depletion of the world's fresh water. We will familiarize ourselves with local efforts concerning water and be mindful of our personal connections with water. Together we will explore access to†water as a human right and what does it means to honor the right to water. †In response to our findings on the current water situation, we will celebrate the work of the global water justice movement, a formidable force of thousands of grassroots organizations who are inspiring a new revolution in the right to water and what belongs to the commons. Students will be actively engaged in water awareness and education on the campus and/or in†the local community through creative educational actions and involvement with local grassroots efforts.


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43909 | 336b Topics in Social Issues: Sexuality, Race & Nation in US History and Politics

Thuma (4 credits)


Materials fee: $ 13.73

Prerequisite: Fair 203a or equivalent or permission of instructor



This course explores the intersections of race and sexuality in the making of US culture and citizenship. It combines an introduction to critical race, feminist, and queer theories of nationalism and state formation with an examination of a series of historical case studies that reveal how race, sexuality, and gender have intersected and shaped the political and cultural boundaries of the US nation-state, as well as how these boundaries came to be lived in and contested through everyday life, cultural production, and social movements. While we will survey a wide range of historical processes and events, course materials focus especially on the construction of racial and sexual identities, hierarchies, and exclusions through the institutions of marriage, immigration control, public health, and social welfare. The assigned literature draws from the fields of social, cultural, and legal history, literary analysis, ethnic studies, sexuality studies, and feminist, queer, and critical race theory. We will also analyze a range of primary sources and social texts, including legal documents, film, memoir, activist ephemera, and collected oral histories.


Texts: Essays available on Blackboard; and Margot Canaday, The Straight State: Sexuality and Citizenship in Twentieth-Century America; Laura Briggs, Reproducing Empire: Race, Sex, Science and U.S. Imperialism in Puerto Rico; and Peggy Pascoe, What Comes Naturally: Miscegenation Law and the Making of Race in America.


Credit/Evaluation: This course is designed to help students sharpen their critical thinking and analytical writing skills, carefully interpret difficult texts, and analyze primary sources. Evaluation will be based on consistent attendance, prepared and active participation in class sessions, and quality of written work. Assignments will include biweekly reading response papers (2 pages), one co-presentation, and a primary source analysis paper (5-7 pages).

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43909 | 336m Topics in Music and Society: Social Change

Coulet du Gard (4 credits)


Materials fee: $12

Prerequisites: Fair 202a or Humanities GUR course



Music and Social Change explores the significance of music affecting change and its role in human rights issues. The course will concentrate on periods and examples from mid 20th century America to the present, with a few key issues from Africa and Europe.


We often study music and human rights as separate entities and realize that reality is not that compartmentalized. Music is and has often been used as a vehicle for survival and change. The course will stress a strong link between music and social movements. We will analyze music structure (genres) and lyrics with a focus on social implications of the position of music within those movements.


Examples through discussions, readings, and film will include the role of music in late 60s- 90s feminism; the use of music in the anti-war Vietnam Era and Civil Rights movements and the significance of Bob Marley; music and street dance in inner city USA of the 1990s-200s; HIV-AIDS epidemic and use of music for AIDS education awareness predominantly in Africa; and recent developments with the Arab Spring and Occupy movements. We will also be analyzing the effectiveness of "benefit concerts."


Texts: (not including articles, music links online and posted in Blackboard): Dick Weissman TALKIN' ABOUT A REVOLUTION (2010); and D. Fischlin and A. Heble, editors REBEL MUSICS: HUMAN RIGHTS, RESISTANCE SOUNDS, AND THE POLITICS OF MUSIC MAKING (2003)


Credit/Evaluation: Students will be required to: (1) write one weekly journal entry/critical thought statement paper (1-2 pages) regarding the readings, music samples, or Blackboard postings/links to websites (the classroom will be equipped with reliable hardware); (2) lead a discussion during the quarter with instructor's approval and in conjunction with assigned readings and recordings; (3) complete one final project, presentation or paper commensurate with a 300 level undergraduate course.


Many of the readings will be posted on Blackboard with weekly music selections or links to online resources. Each student must have access to Blackboard within the first week of class.


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43951 | 336v Topics in Art: Video, Performance and Sound

Feodorov (5 credits)


Materials Fee: $16.45

Prerequisites: Fair 202a or equivalent



In the 20th century, modern artists attempted to both expand upon as well as destroy existing notions about what Art was or could be. Today, there are a growing number of artists using video, performance art and sound as ways of addressing social issues and eliciting thoughts, conversations and experiences that traditional painting and drawing might not. This course will provide students with the opportunity to explore and develop ideas and skills in the areas of video, performance art and/or sound within the context of contemporary Art and society, culminating in public display, screening or performance. Emphasis will be placed upon experimentation and demonstration of concepts in combination with existing skills specific to each student's chosen medium. Students will initially present proposals and timelines to the instructor and give regular progress reports to the class. Experimentation and creative risk-taking is highly encouraged, however emphasis will also be placed on art-making as a form of social engagement or comment. Collaboration among students is also encouraged.


Students are required to maintain a daily notebook of ideas that will be presented near the end of the quarter. Each student will also give a short presentation on an artist working in Video, Performance, or Sound within the context of social issues. Students are also expected to actively participate in class discussions, share their ideas with the class and comment upon each other's proposals and projects. We will discuss numerous strategies employed by artists to help them communicate their ideas and concerns to others. Required readings will be assigned either online or on Blackboard.


Prereq: Since this is not an intro class, students are expected to already possess some basic technical skills within their chosen medium. Please contact the instructor if you have any questions.


Credit/Evaluation: Credit will be based upon student commitment to their projects, regular and punctual attendance, active informed participation in class discussions, and timely completion of all assignments, projects and required readings. Students are expected to challenge themselves both creatively and intellectually. An open-mind is essential.


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43756 | 338p Cultural/Biological Perspectives on Childbirth

Bower / Schwandt (4 credits)


Materials Fee: $7.43

Prerequisites: Fair 203a or 206a or instructor permission



This course seeks to understand cultural and biological aspects of pregnancy and childbirth.† We will study the development of the fetus, the biological and psychological changes women experience during pregnancy and childbirth, and the evolution of pregnancy and childbirth. We will also explore pregnancy and childbirth from feminist, historical, anthropological, economic, political, and spiritual perspectives. We will pay special attention to the ways American medicine has viewed and treated childbirth, and will explore the recent changes in American childbirth practices including a comparison of the midwifery model of care and the medical model. Other topics will include assisted reproductive technologies and a cross-cultural perspective on pregnancy and birth. Students will participate in a quarter-long "pregnancy game" in which she or he will manage a fictional pregnancy. Students will research and make and explain decisions based on complications or situations that arise in their pregnancies.† Videos and field trips to the Bellingham Birth Center and the St. Joseph Hospital Birthing Center will augment discussions.


Texts: Sandra Steingraber: HAVING FAITH: AN ECOLOGIST'S JOURNEY TO MOTHERHOOD; Henci Goer: THE THINKING WOMAN'S GUIDE TO A BETTER BIRTH, and Tina Cassidy: BIRTH: THE SURPRISING HISTORY OF HOW WE ARE BORN. Additional reading will be assigned from various sources.


Requirements for credits and criteria for evaluation: Regular attendance in class, informed participation in class discussions, weekly 2 pg. "pregnancy game" report and/or written reactions to class readings, 2 drafts of an 8-10 page research paper, and teaching a class based on your research paper.


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43908 | 366e Comparative Cultural Studies

Thuma (4 credits)


Also offered as AMST 301



This course draws on an interdisciplinary range of perspectives to arrive at a multi-vocal, multi-ethnic understanding of U.S. history, culture, and politics. It asks how racial categories and hierarchies have been created, inhabited, challenged, and transformed over time, with an emphasis on the intertwined social histories and contemporary contexts of African Americans, American Indians, Hispanic Americans, Asian Americans, and Arab Americans. Students will gain familiarity with key concepts and approaches used to study the interrelationships of race and racism, economic stratification, and gender and sexual identities and inequalities. Class time will consist of lectures, discussion, film screenings, and small group work.


Texts: Paula Rothenberg, ed., Race, Class, and Gender in the United States (eighth edition); and Ronald Takaki, A Different Mirror: A History of Multicultural America (2008 edition).


Credit/Evaluation: Evaluation will be based on consistent attendance, prepared and active participation in class sessions, and quality of written work. Assignments may include participation in online discussion forums; midterm and final essay exams; a media research assignment; one film response paper (2-3 pages); and one primary source analysis paper (2-3 pages).

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42227 | 366e Comparative Cultural Studies

Hazelrigg-Hernandez (4 credits)


Also offered as AMST 301



Sociological and socio-historical aspects of ethnic/minority relations within the larger U.S. society. The course will examine ethnic/minority and majority group dynamics focusing on institutional constructs such as education, the judicial and legal systems, and immigration patterns, along with the concept of White privilege. The concepts of pluralism, racism, prejudice and discrimination will be examined in light of societal and economic stratification. Anticipated Course Outcomes


At the end of the course students should be able to:

1. Understand the differences between race, class, caste, tribe, nationality, nation, minority, and ethnicity processes;

2. Have an adequate knowledge of the ethno-geographical mapping to U.S. ethnic groups, their distribution and placement in American society:

3. Have an adequate knowledge of the principal trends in the life experiences of the major ethnic minority communities in the United States;

4. Have a heightened awareness of major issues in ethnic processes, including such issues as racism; assimilation; bilingualism; social and territorial conflict; problems of land, religion and citizenship; and the role of the Civil Rights movement in contemporary life.

5. Complete a comprehensive set of readings that record the diversity of ethnic experiences in the U.S.;

6. Have a more sensitive appreciation of cultural diversity and its contribution to the unity of American life.

7. Understanding of major policy issues impacting the American racially stratified society (i.e. Props. 187, 209, Affirmative Action, Initiative 200, Federal Policy)


Texts: Race, Ethnicity and Gender by Healey and O'Brien; White Privilege by Rothenberg.


Credit/Evaluation: The course will meet two times a week. Attendance is mandatory unless cleared by the instructor ahead of time or in the case of illness. The course will consist of lectures, discussions, videos and guest lecturers. The course is cross listed with ACS-301 and Fairhaven students will be evaluated in the Fairhaven manner rather than receiving a final grade for the course


Participation in classroom discussions, one perspective paper, one final, one ethnographic interview and a group project paper and oral presentation. Perspective Paper - 2 1/2 to 3 page paper outlining personal perspectives in line/contrast with major concepts, ideas, issues presented after viewing the video "Blue Eyed". Ethnographic Autobiography - follows a specialized format which involves interviews with relatives or family friends and possible other outside research to fully understand one's ethnic identity. The autobiography will be 6 to 8 double-spaced and typed. Take Home Essays - Students will submit 2-3 page, double-spaced essay responses at the end of each unit throughout the term. Final Group Term Project (Paper & Presentation) - Students will self-select project groups based on the project topic. A final group paper will be submitted on the final day of the quarter, and all students will present their research via a group oral presentation to the class.


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41916 | 370h Audio Recording II

Fish (4 credits)


Materials fee: $77.21

Prerequisites: Fair 270h or permission of instructor

NOTE: This course was formerly 375h. Students who received credit for 375h may not take 370h for credit.


Audio Recording II takes the concepts introduced in Fair 275h, Audio Recording I, and allows the student to apply and practice them in a "hands-on" manner, with the goal of becoming familiar with and competent in the use of the equipment in the Fairhaven Recording Studio. Students will complete two small-group multi-track recording projects and will have the opportunity to work on other recording sessions as well. Through the students' work on these projects they will learn efficiency and speed in the techniques of tracking, overdub, and mixdown sessions. The recording projects will be evaluated by the instructor as well as the other students in the class. This course also improves the development of critical listening skills as well as the creative and imaginative expression possible in audio recording. Students will keep a detailed journal of their session work.


Texts: None.


Credit/Evaluation: Each student must finish the assigned projects which will be critiqued by the instructor and peers based on sound quality, balance, clarity and realization. Overall evaluation will be made based on effort, participation and growth as an engineer.

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41917 | 370p Introduction to Pro Tools

Fish (2 credits)


Materials fee: $43.82

Prereqs: FAIR 370H or permission of instructor.


This class is equivalent to Fair 375p taught through Spring 2010. Students who completed Fair 375p cannot receive credit for this class.This class will introduce students to mixing and editing audio with Avid's Pro Tools 9 software. Covered topics will include: importing and recording audio into Pro Tools, editing and manipulating performances, MIDI, the use of plug-ins, and an overview of mastering processes such as compression/limiting, dithering and equalization. As this is primarily a mixing class, already recorded material (from Audio II or otherwise) is helpful. Students will be expected to attend class regularly, demonstrate critical listening skills through critique of their classmates' work.


Texts: Reprinted materials.


Credit/Evaluation: Projects will be evaluated throughout the quarter by the instructor and the other members of the class. Meeting Times: Students may choose to attend either a Wednesday or Thursday section from 12-1pm.


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41918 | 370q Pro Tools HD Recording

Fish (2 credits)


Materials fee: $43.82

Prereq: FAIR 370P


This class will give students with advanced recording experience the opportunity to record and mix on an industry standard Pro Tools HD system. Students will enhance their knowledge of Pro Tools and learn how to use this software in conjunction with a large-format analog mixing console. Students will be expected to conduct at least two recording/mixing sessions throughout the quarter and prepare a final mix for in-class critique. Students will also learn how to properly configure Pro Tools HD hardware and software components, how to setup session templates and how to utilize each component of an HD/analog system. This class is repeatable.


Texts: Reprinted materials.


Credit/Evaluation: Projects will be evaluated throughout the quarter by the instructor and the other members of the class.


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43943 | 375a Speak the Speech

Robinson (4 credits)


Materials fee: $10.29

Prerequisites: Fair 201a or permission of instructor


Breathing Life into Language If language were liquid, it would be rushing in... instead here we are, in a silence more eloquent than any word could ever be. These words are too solid, they don't move fast enough to catch the blur in the brain that flies by, and is gone...I'd like to meet you in a timeless, placeless place; somewhere out of context and beyond all consequences... ~ Suzanne Vega


Speaking remains, at best (onstage and in our culture), an act of survival. Speaking is a physical act, not a psychological one. Habit and fear too often engender a narrow range in a performer's physical and vocal exploration. Vocal Viewpoints highlights the limitations of one's vocal range and subsequently encourages more radical and dynamic vocal choices, generating an adventurous attitude to the voice's potential through freedom, control and responsiveness. - Obie-award winning theatre director, Anne Bogart


How do we know that the words we are speaking are truly communicating our intentions? How does tone, pitch, and tempo shape the meaning of a sentence? When is silence louder than any word we might utter? Consider this course a vocal performance playground, an explorative sound-awareness workshop†in which we learn from one another as we navigate sound and silence. Through the use of Vocal and Physical Viewpoints, Linklater exercises, and the Fabrizi Technique, we will have an opportunity to consciously play with and embody words, and the spaces between them. Those who are afraid of speaking will have an opportunity to share what it's like to be stymied by the spoken word, and will learn from those for whom performing is comfortable. Students who are at ease in front of an audience will, likewise, get to share what still intimidates them about performing, and reveal their processes in overcoming their fears. Together, we will dovetail the beauty and power of both speaking and listening; performing, and witnessing.


Through collaborative, courageous, and supportive trial-and-error, we will first learn to†ease into the shallow waters of audibility, to explore the very essence of vibration; playing with sound and discovering our own tones, pitches, resonances. Next, we'll wade our way toward deeper pools of liquid language to cavort with wild words, smooth sentences, pregnant pauses. Dynamically and languorously we'll lift the language off the pages of our favorite stories, plays, poetry and works of fiction. Eventually, each of us will attempt a grand high-dive, and plunge into the personal performance goal set by each of us at the beginning of the quarter: a story read aloud, an evening of jokes told with confidence, a speech, a memorized solo narrative, a scene-study, a sound and movement collage...


Texts and Reference Materials: Excerpts from FREEING THE NATURAL VOICE by Kristin Linklater; A DIRECTOR PREPARES by Anne Bogart; LETTERS TO A YOUNG ARTIST by Anna Deavere Smith; a plethora of famous speeches, poems, current articles and periodicals pertaining to speaking and performance.


Credit/Evaluation: Each student will make a personal commitment to push through fear to attend every class. Participation†in class exercises is the point, after all. Discussions stemming from the texts will be generated from questions written by each student outside of class at the time of reading. Readings aloud and soundings are opportunities to grow. A final performance of each student's set goal is required. Personal journaling is highly encouraged.


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43961 | 386e Topics in Humanities: New Media

Dugger (4 credits)


Materials fee: $14.30

Prerequisites: Fair 202a or permission of instructor



What did new media in an era of rapid change mean for previous historical periods, and how does it compare to the revolutions in media we are seeing today? How are literature, literary markets, and intellectual exchange transformed by new technologies? How does the evolution of new genres and new forms of distribution determine what can be written (or filmed) and who gets to write or film it? Most of us have heard arguments that the rapid pace of the information age is destroying our attention spans, or that electronic publication will devastate intellectual and literary culture. But the end of the world has come before. In 1800, William Wordsworth lamented the effects of technological change on the intellectual well-being of his own period. A "multitude of causes, unknown to former times," he wrote, "are now acting with a combined force to blunt the discriminating powers of the mind." Wordsworth blamed "the rapid communication of intelligence" at the dawning of the industrial age for creating a world in which "the invaluable works of our elder writers... are driven into neglect by frantic novels, sickly and stupid German Tragedies, and deluges of idle and extravagant stories in verse." We'll look at the case of an earlier new medium, the appropriately-named "novel," and compare the evolution of this form to developments in new literary and intellectual media today. Much of the content of the course will come from student research in contemporary media forms and distribution. We'll compare epistolary and serial form to blogs, vlogs, television, and YouTube, the power of Mudie's Circulating Library to that of, and the hopes and fears about increasing media access that we see in discussions of nineteenth-century cheap print and of the twenty - first century internet. We'll use our reading on what new media has done in the past-and what it hasn't - in an attempt to understand what it might do in the future.


Texts we will read to provide background for previous media revolutions and the public response to them include selections from Hunter's Before Novels, Brantlinger's The Reading Lesson: The Threat of Mass Literacy in Nineteenth-Century British Fiction, and Tuchman's Edging Women Out: Victorian Novelists, Publishers, and Social Change. We'll use this material to raise questions with which we address student-selected texts on twenty-first century media trends and evaluate examples of these trends.


Credit/Evaluation Requirements include regular attendance, the completion of assigned course readings and other media, and active participation in class discussion, including prepared reading responses as requested. Because much of the course reading will be taken from student research, it is also essential that you meet all deadlines for submission of course proposals and materials. Each student will complete a project that researches and evaluates developments in new media in the context of questions raised by our readings on earlier developments. Students will write project proposals that identify their research areas and how they will investigate them. There are many different ways to complete this project: possible venues of investigation include, but are not limited to, a formal written paper, participation in and reflection on a new media form (for example, publish and evaluate your experience producing a blog), participation in and reflection on a new media distribution venue (for example, attend and evaluate a publishing conference), etc. Students will be expected to revise their proposals in response to feedback, select materials related to their projects for class review, and present these materials to the class.


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