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Fall 2013 Courses: 300 Level

41302 | 303A Core: Interdisciplinary Concentration Seminar

Takagi/ S'eiltin (5 credits)

 

Materials Fee: $ 7.20

Prerequisites: Fair 101a, 201a, 203a and 305a. Required of students undertaking an 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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40860 | 305a Writing and Transition Conference

McClure (3 credits)

 

Prerequisites: 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: Thursday, October 3, 4 p.m. or Friday, October 4, noon. (Meeting location will be sent via email to registered students and posted at Fairhaven College).

 

In order to receive credit for FAIR 305a you must:

1) Submit your Writing Portfolio prepared according to specifications to be provided at our orientation and on our class Canvas site. Portfolios are due by Friday, October 25.

2)Schedule and conduct a Transition Conference which includes writing and circulating a Transition Conference Statement to your invited participants prior to the conference. Additional details and instructions will be provided at our orientation and on our class Canvas site.

 

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42709 | 311b The American Legal System

Montoya-Lewis 5 credits

 

Materials Fee: $ 11

Prerequisites: FAIR 203A or Social Science GUR or permission of instructor.

THIS COURSE MEETS THE UPPER-DIVISION REQUIREMENTS FOR SOCIETY AND THE INDIVIDUAL

 

What is justice? Do the legal systems of the United States provide it? This court 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 as one of our most critical institutions. Throughout the quarter we will consider how, whether and to whom U.S. legal systems provide access to justice. In this course, we will look briefly at different areas of the law, considering the evolution of rules of law and their relevance to today’s world. In addition, we will look at a few recent U.S. Supreme Court case decisions and compare what they actually say with the way the decisions are represented in the media. We will look closely at how changes to the makeup of the U.S. Supreme Court impact the analysis of the legal issues.

 

Texts: Introduction to Law, 6th Edition, by Beth Walston-Dunham. Online readings will also be assigned and a legal dictionary is required (preferably one you can bring to class).

 

Credit/Evaluation: This course has written assignments due weekly (sometimes for each course meeting). All assignments must be turned in on time and complete by the end of the course to receive credit. Class participation and attendance are required. Evaluation will be based on successful completion of assignments, improvement in the quality of assignments over the quarter, and class participation.

 

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43974 | 322m Childhood in America

Eaton (4 credits)

 

Materials Fee: $ 13.80

Prerequisites: instructor permission.

THIS COURSE MEETS THE UPPER-DIVISION REQUIREMENTS FOR SOCIETY AND THE INDIVIDUAL

 

What does it mean to be a child? How do we remember our childhood experiences? How do these memories reflect America’s idealized ideas about childhood? Who lives that childhood and who does not? Childhood is a developmental stage unique to humans, yet historical, economic, and cultural contexts influence children’s experiences and social roles as well as their development of language, knowledge, moral reasoning, and gender identity. Using memoir, novel and film, accompanied by a few theoretical readings and some observations of children in a variety of settings, we will investigate the ideas and myths of childhood. Together we’ll explore the landscape of childhood as ‘remembered’ in these varied books and films and connect these memories to our own experiences.

 

Texts: bell hooks, Bone Black; Sandra Cisneros, House on Mango Street; Henry Middleton, The Earth is Enough; Linda Berry, One Hundred Demons; Francisco Jimenez, The Circuit; Shirley Sterling, My Name Is Seepeetza

 

Credit/Evaluation

- Attendance at all group sessions and willingness to fully engage in the readings, class discussions of the readings and films, and in-class exercises.

- Observational log.

-Active participation in the varied memoir writing assignments, including redrafting and polishing

- Development of a final portfolio that includes at least six memoir pieces in at least three forms (prose, poetry, song, script, visual art, three-dimensional art, video, etc) that capture some aspect of your childhood and connect with the themes in our readings and observations.

- Class presentation of some aspect of your portfolio.

 

Outcomes:

- Students will understand, and value the complex and diverse nature of childhood experiences and families in the American society.

- By reading a set of exemplary creative nonfiction writings and by writing memoirs, students will learn tools to make nonfiction writing creative and readable.

 

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43976 | 325j Studies in Myth and Mythology

Larner (4 credits)

 

Materials Fee: $ 8.65

Prerequisites: Background in humanities or cultural history.

THIS COURSE MEETS THE UPPER-DIVISION REQUIREMENTS FOR HUMANITIES AND THE EXPRESSIVE ARTS

 

Myths arise from the deep mists of the past, are shaped and used, reshaped and reused by the peoples who embrace them. Most myths are old and get older as we understand them better and feel them more deeply. A little more rarely, myths get born, arise new, and are found floating in the reeds on the banks of some contemporary river of meaning we had previously missed.

 

Myths tell us who we are, where we came from, what we desire, how we can live and die, what awaits us, the difference between right and wrong, good and evil, the beginnings and endings of things, the roots of our ecstasies and terrors, our wishes and dreams. They can tell us how to behave, what our values should be, and how to bring up the next generation. They can tell us what came before us and what will live after us. Myths take us to realms of meaning, feeling and understanding it is sometimes difficult to explain and hard to have any other way.

 

Whether the stories that embody myths seem profound and eternal, or odd and outrageous, realistic or fantastic, they tend to radiate truth, not the patent falsehood which is implied by the popular usage of the term (“That’s just a myth!”). On the contrary, myths beckon us to understand better, go deeper, venture on a sea of meaning where there may be a risk of sinking. Myths often are disguised in tales of ordinary life, in songs, shows, movies, videos and commercials, in our clothing and our possessions and our ways of living.

 

We will engage with myths from different times, places, and cultures, trying to fathom their workings and their special character. What distinguishes a story that becomes a myth from other stories? Are there earmarks--perhaps special properties of metaphor or image--which account for the depth and staying power of those stories we call myths?

 

Our emphasis this quarter will be first to learn about mythic stories, ideas and structures, to understand what they are or can be, where they come from, and what our needs for them are. Second, we will search for mythic elements in our own culture(s). What are the stories, the narratives which circulate among us, explicit or implied, displayed or hidden, which shape our world, the way we see things, what we expect, fear, hold dear? Do the events of September 11 and their aftermath, or of the war in Iraq, reveal something of those stories it was previously harder to see? What might that tell us about who we are, what we think and feel, how we respond, who we are and what we regard as vital to our lives?

 

We will practice a variety of means of encountering and responding to myths, appreciating their significance, and responding to their importance--reading, viewing video, storytelling, discussing. We will read theoretical and critical studies of myth, read stories, engage films and stage works, and look for myth in the contemporary media. Some may wish to engage the particularly rich heritage of Native American myth and story which surrounds us here.

 

There will be an opportunity for individuals to look with some depth into religious traditions which are implicated in contemporary conflicts, and report back to the class.

 

You may create a mythic story yourself, or explore and explain outcroppings of other myths in our time. We will work individually, in small groups, and all together, sometimes choosing together the materials we will work on.

 

Texts. TBA. Readings will be chosen from a few of the following: David Leeming, The World of Myth; E.J. Michael Witzel, The Origins of the World’s Mythologies; William J. Hynes and William G. Doty, eds, Mythical Trickster Figures; Richard Schechner, The Future of Ritual; Selections from The Holy Bible (King James trans.); Selections from The Holy Qu’ran (trans. Allamah Nooruddin, Abdul Mannan, Amatul Rahman Omar); Mariza Gimbutas, The Language of the Goddess; Carolyn Larrington, The Feminist Companion to Mythology; Gary Ferguson, Spirits of the Wild: The World’s Great Nature Myths.; Robert Bellah (and others), Habits of the Heart. Joseph Campbell, Myths to Live By, and Transformations of Myth Through Time.

 

Here is a sample list of other books individual students may wish to involve in our discussions: Rollo May, The Cry for Myth Anne Baring and Jules Cashford, The Myth of the Goddess--Evolution of an Image; Wole Soyinka, Myth, Literature, and the African World; Joseph Campbell, Creative Mythology: The Masks of God; Claude Levi-Strauss, Muth and Meaning; C.G. Jung, Psyche and Symbol, and Psychology and Religion; Raphael Samuel and Paul Thompson, Myths We Live By; Carolyn Estes, Storytellers Goddess; Homer, The Odyssey; Goethe, Faust; Aeschylus, The Oresteia; Sophocles, Oedipus Rex; Katherine Judson, Myths and Legends of the Pacific Northwest; the Star Wars films; ET; William Shakespeare, Hamlet and Romeo and Juliet.

 

Credit/Evaluation. Regular preparation of readings for discussion and faithful attendance. Commitment to the community of the class, including a willingness to complete assignments on time, to contribute to the discussions of readings, and to participate in the sharing of stories. Mid-term presentation and final project (paper and presentation).

 

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41503 | 334c International Human Rights

Akinrinade

 

Materials Fee: $ 16.15

Prerequisites: FAIR 203a or instructor permission.

THIS COURSE MEETS THE UPPER-DIVISION REQUIREMENTS FOR SOCIETY AND THE INDIVIDUAL

 

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.

 

Texts: TEXTBOOK ON INTERNATIONAL HUMAN RIGHTS, by Smith, Rhona K. M.; INTERNATIONAL HUMAN RIGHTS IN CONTEXT: LAW, POLITICS, MORALS, by Alston, Philip & Goodman, Ryan

 

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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42330 | 334f International Law

Akinrinade (4 credits)

 

Materials Fee: $ 18

Prerequisites: FAIR 203A or permission of instructor.

THIS COURSE MEETS THE UPPER-DIVISION REQUIREMENTS FOR SOCIETY AND THE INDIVIDUAL

 

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 Çal?, Ba?ak

 

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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44308 | 335b Global Inquiry

O'Murchu (1 credit)

 

Instructor: Students Alyson Simeone and Brittaney Schunzel (Adventure Learning Grant recipients) will be leading this class under the supervision of Niall O’Murchu.

Prerequisite: FAIR 201a or equivalent

 

This workshop is designed to help students consider their options for independent travel/study projects abroad. It seeks to help students achieve some clarity about why and how they want to travel and study outside of their country of origin at this point in time. One intended goal is to take the mystery out of applying for an Adventure Learning Grant. To that end, topics will include how to develop project ideas, the qualities of successful proposals and personal statements, and strategies for developing international connections. The core of the class, however, will be a series of guest speakers who will share their experiences with travel and research under a wide variety of conditions, and their thoughts about general principles for responsible global study and travel.

 

Texts: a number of articles on electronic reserve.

 

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44178 | 336m Topics in Music and Society: Musical Instruments

Coulet du Gard(4 credits)

 

Materials Fee: $12

THIS COURSE MEETS THE UPPER-DIVISION REQUIREMENTS FOR HUMANITIES AND THE EXPRESSIVE ARTS

 

An exploration of musical instruments, their social contexts and connections based on immigration and population movements in global context.

 

The course will explore musical instrument types, the cultures associated with them, and the reasons for their global dispersion. Readings from ethnomusicology, history, anthropology, and museology will allow students to place musical instruments in their cultural contexts, understanding such issues as the African Diaspora, European colonialism, independent invention, and creative constructions of instruments.

 

Texts: Canvas: will be used to post articles and powerpoints; Texts: TBA Some of these texts may be required: The World Atlas of Musical Instruments 2012; Bozhidar Abrashev and Vladimir Gadjev; Musical Instruments of the Southern Appalachian Mountains John Rice Irwin 2002; African Music: A People’s Art Francis Bebey 1999; Sounds Of The Silk Road: Musical Instruments Of Asia 2005; Mitchell Clark Boston MFA collections.

 

Credit/Evaluation: Students will complete all required readings; attend class regularly; write several reflections; construct one simple musical instrument from found materials or materials under $25, and complete a final project or paper.

 

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43983 | 336n Topics in Science: Cooking/Cuisine

Tuxill (4 credits)

 

Materials Fee: $39

Prerequisites: FAIR 206a or equivalent

THIS COURSE MEETS THE UPPER-DIVISION REQUIREMENTS FOR SCIENCE AND OUR PLACE ON THE PLANET

 

This course starts with the premise that our personal health and the ecological health of our planet both depend upon what happens in the kitchen. We will explore the science and culture of food preparation and preservation, with a goal of understanding how culinary traditions and scientific knowledge can inform current concepts and ideas of sustainable food. Along the way we also hope to gain and share the basic kitchen literacy needed to make timely, delicious meals—and to make healthy, ecologically sound food a vital part of our busy modern American lives.

 

Texts: COOKED by Michael Pollan; ON FOOD AND COOKING: THE SCIENCE AND LORE OF THE KITCHEN by Harold McGee; Other readings will be drawn from a broad range of academic and applied literature and distributed via Blackboard.

 

Credit/evaluation: Regular attendance and informed contribution to discussions and in-class demonstrations is essential. Students also will 1) keep a food journal; 2) research, write, and present a study of the natural history of a particular foodstuff or culinary technique; 3) participate in a group project on food system sustainability analysis; and 4) contribute to a class recipe collection.

 

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44266 | 336v Topics in Art: Myth of Photographic Truth - Believing is Seeing

Goldman (4 credits)

 

Materials fee: $17.17

Prerequisites: Fair 202a or equivalent

THIS COURSE MEETS THE UPPER-DIVISION REQUIREMENTS FOR HUMANITIES AND THE EXPRESSIVE ARTS

 

In this course we will look at how photographs can obscure as much as they reveal. We will look at both historical and contemporary photographs and explore the relationship between photographs and the world they intend to record. What is the difference between journalistic evidence, fine art and staged propaganda?

 

Without captions photographs are ultimately influenced and defined by a viewer’s belief system, these beliefs being created through our evolving biographies and cultural influences. A viewer yearns for meaning in photographs. We do not only consume images but build and re-build them, re-seeing them within their own comprehension of the past and present and in real time. It is important to appreciate how images can function both aesthetically and culturally. We cannot expect intelligent insight or understanding without doing some analysis and investigation into the meanings we attach to photographs. The camera can capture great detail but we must recognize how it can be used to distort or even lie about a subject. The camera represents a highly subjective "truth" that can never be taken at face value. Even in this digital age people are shocked when news photographs turn out to be manipulated.

 

Students will also be asked to create a series of photographs that blur the lines between document and fabrication. These photographs will be based on a personal story or revisioning a historical event. As well as reading the required text and other assigned readings students will keep a detailed written journal of their daily encounter with photographic images ~ both public and private. Students will also be asked to research and give a presentation to the class on an assigned topic.

 

The type of camera and image output expected of students will be determined by the experience of the class members. We do not have a darkroom studio space at Fairhaven College. If you have prior experience in a darkroom you may be able to negotiate use of outside facilities.

 

Students will be expected to expand their ability to think analytically and demonstrate perceptive reading and writing skills. Participation in all assigned readings, journal entries and class discussion is required and essential.

 

Required Text: BELIEVING IS SEEING (OBSERVATIONS OF THE MYSTERIES OF PHOTOGRAPHY) by Errol Morris

 

Credit/Evaluation: Credit is based upon REGULAR PUNCTUAL attendance, active informed participation in class discussions, understanding of the material covered in class and timely completion of all studio projects, readings and writing assignments.

 

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43977 | 354v Scriptwriting Workshop I

Larner (4 credits)

 

Materials Fee: $ 5.47

Prerequisites: instructor permission

THIS COURSE MEETS THE UPPER-DIVISION REQUIREMENTS FOR HUMANITIES AND THE EXPRESSIVE ARTS

 

The workshop is a collaborative, supportive group experience. Students are expected to comment on, support, and participate in the work of their fellow students. Initial exercises will be followed by gradual development of each student's project for the term. We read and discuss texts by writers who are also fine teachers. We may also read a published play or screenplay and discuss it together, as well as attend a play production or film showing. The emphasis in 354V is to acquire a working sense of dramatic action and a feel for how storytelling works dramatically. Students may work in any medium: stage, movies, television, radio, or cyberspace. Risk-taking, experimentation and trial-and-error are encouraged. By the end of the term, students will be expected to complete a one-act play (20-30 minutes) or its equivalent in another medium.

 

Attention will be paid to getting complete drafts of scripts finished, and then if time remains, to get them ready for production: screenplays for video production and showcasing here on campus, and/or through the Projections Film Festival in Bellingham, and possibly beyond; stage plays for production here at Fairhaven, at the New Playwrights Theatre in the Theatre Arts Department, at iDiOM Theatre in Bellingham, at the Bellingham One Act Theatre (BOAT) Festival at the Bellingham Theatre Guild, and at new play festivals in Seattle, at Northwest Playwrights Alliance events, and other venues; and radio plays for production at KUGS.

 

Texts: Jeffrey Sweet, DRAMATIST’S TOOLKIT; Robert McKee, STORY; A play and/or a screenplay, TBA, may be required, as may attendance at selected film screenings and/or theatre productions.

 

Credit/Evaluation: Students are expected to complete at least a substantial one-act play (approximately 20-30 minutes in length), or its equivalent in another medium. Work must be brought to class regularly and shared with the group. A portfolio of selected writings done during the term will be due at the end of the course. Dependable attendance; completion of assigned readings; progressively better informed, responsive and constructive participation in the workshop; and steady effort in rewriting and revising are required for credit. Writing will be evaluated for its beginning development of techniques, aptness for the stage (or the appropriate medium) and the overall development of the writer during the term.

 

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43980 | 369c Vietnam War Redux

Rowe (4 credits)

 

Materials Fee: $ 2.10

Prerequisites: FAIR 203A or instructor permission

THIS COURSE MEETS THE UPPER-DIVISION REQUIREMENTS FOR SOCIETY AND THE INDIVIDUAL

 

This course examines the war in Vietnam from 1962-1975 from the under/other side. It does not focus on whether or why the United States lost the war. Rather, it explores the tragic costs of the war from usually marginalized perspectives: Vietnamese fighters and civilians, American families, and women and minorities who served. We will begin by using a short history textbook, lectures, and films to gain an overview of the war. We will view additional films, read personal narratives, and host guest lecturers for the remainder of the course. Participants will prepare a research and teaching project for presentation to the seminar at the end of the quarter. Great latitude will be allowed in the choice of individual projects that might include dance, stand-up comedy, art, oratory, music, film, photography, interviews, or an academic research paper. Students will be encouraged and facilitated in seeking inputs from faculty, family members, veterans, community members and others who recall the war and its impacts.

 

Texts: Required: Larry H. Addington, AMERICA’S WAR IN VIETNAM; Christian G. Appy, PATRIOTS; Recommended: Philip Caputo, A RUMOR OF WAR; Albert French, PATCHES OF FIRE: A STORY OF WAR AND REDEMPTION; Tom Holm, STRONG HEARTS, WOUNDED SOULS: NATIVE AMERICAN VETERANS OF THE VIETNAM WAR; Karl Marlantes, MATTERHORN; Leroy TeCube, YEAR IN NAM: A NATIVE AMERICAN'S STORY; Doan Van Taoi and David Chanoff, VIETNAM: A PORTRAIT OF ITS PEOPLE AT WAR; Wallace Terry, BLOODS; Linda Van Devanter, HOME BEFORE MORNING.

 

Credit/Evaluation: Evaluation for granting credit will be based on regular attendance; prepared and meaningful participation in discussions; the effectiveness of the final project, and the quality of several 2-page response papers on readings, films, or guest lectures.

 

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43980 | 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 270h, 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: THE RECORDING ENGINEER'S HANDBOOK (2nd edition) by Owsinski

 

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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41688 | 370p Introduction to Pro Tools

Fish (2 credits)

 

Materials Fee: $ 43.82

Prerequisites: FAIR 370H or permission of instructor.

 

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 mixing 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.

 

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41689 | 370q Pro Tools HD Recording

Fish (2 credits)

 

Materials Fee: $ 43.82

Prerequisites: 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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43985 | 371b Topics in Middle East Studies

O'Murchu (4 credits)

 

Materials Fee: $ 7.20

Prerequisites: FAIR 203A or permission.

THIS COURSE MEETS THE UPPER-DIVISION REQUIREMENTS FOR SOCIETY AND THE INDIVIDUAL

 

The United States has been the most significant power in the Middle East since World War Two and the increasingly engaged in the region since the end of the Cold War in 1990. Successive American administrations claim to desire and promote peace, democratization, and economic development in the region. Yet academics claim that foreign support for existing regimes is one of the strongest explanations for the lack of democracy in the Middle East. The question this course explores is why there is such a disjuncture between public aspirations for United States foreign policy and the reality of American compliance with authoritarian rulers across the region.

 

We will pursue the vexed question of America’s impact on politics in terms of state-society relations in the Middle East itself. Instead of seeing the problems of the Middle East as the product of American actions, we will examine the ways in which social and political groupings in different Middle Eastern countries have succeeded in securing their own power and interests by forging alliances with the United States.

 

We will read four books to examine politics and society in several Middle Eastern states as shaped by the interactions of local actors with American power. Those states include Iraq, Saudia Arabia, Egypt, Jordan, Kuwait, Morocco and (a non-state) Palestine.

 

Credit/Evaluation: Preparation, attendance and informed, regular participation. Following the news from one country in the Middle East online. Four short reviews of our course texts and an outside book review essay or research paper. Texts: Ali Allawi, THE OCCUPATION OF IRAQ: WINNING THE WAR AND LOSING THE PEACE (Yale, 2007); Robert Vitalis, AMERICA’S KINGDOM: MYTHMAKING ON THE SAUDI OIL FRONTIER (Stanford, 2006; Verso, 2009); Amaney Jamal, OF EMPIRES AND CITIZENS: PRO-AMERICAN DEMOCRACY OR NO DEMOCRACY AT ALL? (Princeton, 2012); and Jason Brownlee, DEMOCRACY PREVENTION: THE POLITICS OF THE US-EGYPTIAN ALLIANCE (Cambridge, 2012).

 

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4 | 3

C(4 credits)

 

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