McClure (1 credit)
Materials Fee: $14.32
Prerequisites: admission to Fairhaven College
One credit, one credit is all it takes to teach you nearly EVERYTHING you need to know to be a successful, interdisciplinary, independent member of the Fairhaven College community? As you've figured out already Fairhaven College is a different sort of place. That's why you're here. Most of you haven't experienced an educational system quite like Fairhaven. We get to show you the ropes.
Fairhaven College students, faculty and staff congregate by virtue of a shared vision of education. We (This class is facilitated by Fairhaven's Advising Coordinator and a cadre of savvy, energetic, well-informed peer mentors.) want to help you experience that vision to better understand it. Small group workshops, community participation and individual advising will comprise our class activities. We will de-code the mysteries of the educational practices we use (Writing Portfolio; Transition Conference; ISPs; Evals...) and share the essentials you need to proceed toward your chosen major and take charge of your education.
Texts: Materials to be provided.
Credit/Evaluation: This Fairhaven College Core Class is a graduation requirement. Award of credit will be based on documented participation and written assessment in all of the required class meetings and required workshops outlined in the syllabus as well as submission of a narrative self-evaluation. We expect your curiosity, your playfulness, your active engagement, your collaboratory spirit.
Tag (5 credits)
Materials Fee: $15.11
Prerequisites: Admission to Fairhaven College
You will know / when you walk / in bear country. / By the silence / flowing swiftly between juniper trees / by the sundown colors of sandrock / all around you. - Leslie Marmon Silko
This class is an invitation to walk in bear country. Or, as poet Denise Levertov puts it, to "come into animal presence." We will explore what it means, as humans, to be animals, and how we imagine, understand, use, encounter, and live with nonhuman animals. At the core of our explorations will be a series of questions that we develop, write down, talk about, examine, and share. Think about all the ways in which your life intersects with and depends upon other creatures: worms making compost, bees pollinating crops, salmon frying on your grill, ravens calling down through the trees as you walk below, a cat rubbing against your leg. What rights do such animals have? How do they think, communicate, survive? What are the limitations or possibilities for what we can know about animals beyond ourselves? To what extent are our own actions, beliefs, senses, and being shaped by our animalness?
To explore such questions we will read stories, articles, essays, and poems, write reflections, autobiographical narratives, and research essays, and spend lots of time talking, asking questions, and thinking critically. We will consider the ways in which scientists, writers, artists, wildlife managers, veterinarians, ranchers, vegetarians, musicians, and storytellers speak about animals and their own animalness. Animals will be at the center of everything we do and say and explore, even the very modern and ancient idea that we, too, are animals, and what that means for our actual relationships to the wild and domestic creatures with whom we share this planet. This will be a reflective, thought-provoking, and creative class. Please bring stories of your own animal encounters and a willingness to collectively investigate, illuminate, and listen to the many and varied stories of animal presence.
Texts: INTIMATE NATURE: THE BOND BETWEEN WOMEN AND ANIMALS by Hogan, Metzger, and Peterson, eds., NEVER CRY WOLF by Mowat, FALCON by Macdonald, and A POCKET STYLE MANUAL (5th ed) by Hacker
Credit / Evaluation: Faithful attendance. Active participation in class discussions, presentations, writing workshops, and other activities. Completion and quality of coursework: several short reflective and analytical essays, an Autobiographical Narrative, a Research Essay, a Writing Plan, and a Book of Questions.
Feodorov (5 credits)
Materials Fee: $14.30
What are artists? Are they misunderstood geniuses that passionately express themselves and the times they live in? Are they forward thinking visionaries, utopian idealists or tricksters? While the term "Artist" has meant different things to different peoples, cultures and eras, the common myth of the artist as tortured genius has been promoted and reinforced in popular culture through novels, movies, television, literature and advertising. We will explore why does this myth persists and what or whom it serves. We will also investigate numerous ideas throughout history regarding the role(s) that art plays or should play within society.
This class will revolve around an overall theme of Abstraction versus Realism as well as their uses. Other topics we will discuss include authenticity, originality and celebrity.
Students are expected to develop their ability to think analytically, cultivate and demonstrate perceptive reading and writing skills, and formulate and articulate ideas based upon research and class discussion. Students are responsible for all assigned readings and are expected to participate in all class discussions. Each student will research and give a presentation to the class on one artist from an approved list. In addition, each student will create three art projects influenced by topics covered in class, as well as take part in occasional in-class art exercises.
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 art projects, readings and writing assignments.
Estrada (5 credits)
Materials Fee: $14.32
Prerequisites: Admission to Fairhaven College
This section will explore the process of social identity formation in the United States through the lens of modern social theory. The goal of the class is to explore multiple perspectives on the formation of the state, individual rights within society, equality as well as the roles and responsibilities of individuals within their respective communities. The focus of the class will concern itself with the roots and application of Western ideals of freedom and equity that arguably form the basis for the United States' liberal democracy.
The seminar will outline the origins of the enlightenment and the basis for "natural" rights and freedoms in conjunction with the derived roles of society and government. We will then examine how the universalist ideals of the liberal enlightenment have implicitly or explicitly excluded those without property, people of color and women. We will also define what the "social compact" has meant in different periods of American history, and the relationship of various groups to this compact. Can liberal democracy really provide equal citizenship for workers, women and people of color? How have the movements of socialism, reconstruction, decolonization, ethnic identity and feminism tried to reformulate and transform the social order?
Texts: SELECTED READINGS on John Locke and Adam Smith; C. Lemert, 4th ed., SOCIAL THEORY:THE MULTICULTURAL &CLASSIC READINGS (Jackson, TN: Perseus Books, 2010); R. D'Angelo & H. Douglas, 8th ed., TAKING SIDES: CLASHING VIEWS ON CONTROVERSIAL ISSUES IN RACE & ETHNICITY (NY: McGraw Hill, 2009); M. J. Sandel, JUSTICE: WHAT'S THE RIGHT THING TO DO (NY: Farrar, Strauss, Giroux, 2009); Recommended Reading: Zinn, H. PEOPLE'S HISTORY OF THE UNITED STATES: 1492-PRESENT, (NY: Harper Collins, 2003)
Credit/Evaluation: Credit will be granted for regular attendance, evidence of preparation, satisfactory completion of 2-3 written perspective papers in addition to a group term project and class group presentation. Criteria for evaluation include informed and active engagement in class discussions; informative, relevant group presentation and a term project paper that illustrates a sound grasp of social theory and critical paradigms.
Jack (5 credits)
Materials Fee: $14.32
Prerequisites: Admission to Fairhaven College
Food for Thought
In this course, we will apply social theories to the issue of hunger and food production in the U.S. Food and hunger both shape and express relationships among people. How do social relationships and individual responsibility relate to the geography of hunger and inequalities in food production and consumption? What foundational practices and ideas have influenced how food is understood, produced, and commodified in the US? Drawing from perspectives of psychology, history, sociology and social theory, we will examine how our society constructs individual lives and social relationships, using a focus on food. Among the questions we explore are: What does it mean to be a socially responsible citizen? How do a range of critical social theorists, including the dispossessed, oppressed and excluded, all writing from different standpoints of power and privilege, inform our understanding of social relationships, responsibility, and hunger? How do interdisciplinary and multicultural perspectives influence our understanding of social justice? Do these perspectives inform our understanding of the paradox of hunger in the midst of plenty that affects our society?
Texts: Our readings consider multiple perspectives on fundamental issues: human survival on a finite planet, equality, freedom, and the power relationships that affect the production and distribution of food. Reading selections will include Patricia Hill Collins, W.E.B. DuBois, Karl Marx, Adam Smith, Carole Pateman, and others. Students should expect to gain key concepts for the study of the social world, to reflect critically on ideas of social justice and the Fairhaven Mission's commitments to Social Justice and Diversity, and to understand the social construction of food and hunger as forms of power and cultural expression.
Texts: Readings are on blackboard; one text to be announced.
Credit/Evaluation: Regular, informed participation in class discussion. Students will be asked to lead one class discussion and prepare a synopsis and handout of the reading they discuss. Two short reflection papers and a final project/paper will be required. Evaluation will be based on grasp of understanding of multiple theoretical perspectives presented in the readings and on development of analytical skills.
Akinrinade (5 credits)
Materials Fee: $14.32
Prerequisites: Admission to Fairhaven College
This course focuses on the philosophical foundations of human rights and considers the role of natural rights in the evolution of the concept. Among other things, it will examine the "choice theory" and "interest theory" of rights and the distinction between positive and negative rights. The course will look at the relationship between rights and duties and explore the possibility of determining which rights could be considered basic. It will also look at non-Western conception of rights and the cultural argument in relation to rights, whether rights could be universal or admits of relativity.
We will try to gain an understanding of these issues by exploring the following the following questions, among others:
What are the philosophical roots of the modern day concept of human rights?
Which of the many competing theories best explain the origins and content of human rights?
Are there rights without a concomitant duty and are rights absolute?
Which of the rights in the human rights corpus are the most important?
Which are the most basic, without which meaningful existence is possible?
Are human rights universal?
If yes, is universalism of human rights another form of imperialism? Can human rights be particularized to the different regions in the world? We will use philosophical texts and other relevant sources to attempt to answer these questions.
Texts: BASIC RIGHTS: SUBSISTENCE, AFFLUENCE, AND U.S. FOREIGN POLICY, by Shue, Henry 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.
Tuxill (5 credits)
Materials Fee: $16.43
Do you know where your food comes from and how it got to your plate? Food production is the single most important human activity affecting our nation's and our planet's ecosystems, with enormous environmental, economic, and social consequences. How we manage the ecological relationships inherent in growing, tending, harvesting, and catching food is crucial for determining the health of our environment and the sustainability of society.
This course places the ecology of food in a historical context, by exploring how people have used and managed ecosystems for food production over time. We also will examine the importance of the biological diversity of our food supply, for both plants and animals. We will analyze the ecological impacts of farming, aquaculture, and other intensive ways of producing food, and identify challenges and opportunities for sustainable food supplies, including organic agriculture, genetically modified organisms (GMOs), and eating locally. We also consider how ecological dimensions of food intersect with social relationships, individual responsibilities, and inequalities in food production and consumption. The course emphasizes field and lab learning and multimedia investigation of the ecology of eating.
Texts: THE OMNIVORE'S DILEMMA by Michael Pollan. Additional materials will be made available electronically.
Credit/Evaluation: Students are required to keep a food log; participate in all classroom, lab, and field activities (including short writing assignments); write a 7-page research paper accompanied by a classroom presentation; and complete a final essay exam.
Osterhaus (4 credits)
Materials Fee: $18
What do we, as engaged citizens, know and understand about global issues and ourselves in a world faced with the complex issues of growing economic disparities, fragile democracies, environmental degradation, wars on terrorism, militarism and homeland security, civil liberties, racial profiling, globalization, and ethnic/religious conflicts? What is our awareness of and participation in local and global efforts for peace and justice? In addition to participation in the weekly forums of speakers that are open to the campus and Bellingham community, registered students in the class will thoughtfully and critically contribute to class discussions with weekly written reflections and†research from independent media sources. In addition, students will choose and read one book related to global issues for class presentations, write a final integration paper and engage in 4 hours of "action lab" outside of class time.
Takagi (3 credits)
Materials Fee: $13.23
Also offered as AMST 205
This is an introduction to the history and experience of Asians in America. This class will explore the factors for immigration, working and living conditions of Asian laborers in this country, and the social relations between the minority and majority, as well as those between the various Asian ethnic groups. Lectures, the readings, creative projects and documentary films will help illuminate the trials, tribulations, and the resilience of Asians on these shores.
Texts: Ronald Takaki, STRANGERS FROM A DIFFERENT SHORE (on sale at University bookstore), Yen Le Espiritu, ASIAN AMERICAN WOMEN AND MEN, and articles on Blackboard and on-line through Wilson Library database
Written Requirements: (Regular attendance required.)
A. 10 quizzes. Quizzes.
B. 1 paper (10 pages) This is a joint project.
C. Take home exam.
Hazelrigg-Hernandez (3 credit)
Materials Fee: $13.23
Prerequisites: Also offered as AMST 203.
This course will examine the socio-political, cultural and institutional structures directly impacting Latino/a-Chicano/a-Hispano-a populations within the United States and will provide an introduction to the historical and contemporary development of the Latino/a community. An interdisciplinary approach will be taken as we focus on such topics as education, immigration, economic stratification as well as urbanization. Special emphasis will be given to the evolution of the roles of Chicanas/Latinas, as well as the development of social protest and social change within the barrio setting.
Texts: FROM INDIANS TO CHICANOS: THE DYNAMICS OF MEXICAN AMERICAN CULTURE by Vigil; MASSACRE OF THE DREAMERS: ESSAYS ON XICANISMA by Castillo.
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 AMST 203 and Fairhaven students will be evaluated in the Fairhaven manner rather than receiving a final grade for the course. Evaluation is based on participation in classroom discussions, two perspective papers, one midterm exam and a group term project paper and oral presentation.
Takagi (3 credit)
Materials Fee: $13.23
This course examines and explores the social, political, and cultural history of African Americans from the development of slavery to the late 1980s. Though ten weeks is absurdly too short a time to thoroughly understand the African American experience, this class will help create a learning environment that encourages appreciation of the history and culture of African Americans; teach the economic, psychological, and social situation of Blacks past and present; and explore the diversity and range of thought in the African Diaspora.
Texts: Nell Irvin Painter CREATING BLACK AMERICANS and Manning Marable, LET NOBODY TURN US AROUND. Also additional reading on Blackboard.
Credit/Evaluation: (Since we meet only once a week, which is equivalent to two classes, you cannot miss more than 1 time without penalties.)
(1) There are weekly quizzes. (2) There will be one creative project with a short paper (5 pages + bibliography of sources). (3) There will be one take-home exam.
Cornish (4 credits)
Materials Fee: $14.99
There are days when you go
out into the bright spring fields
with the blue halter, the thick length
of rope with its sky-and-cloud braiding,
even the bucket of grain--
all corn-and-molasses sweetness,
the maraca sound of shaken seduction--
and the one you have gone for simply will not be caught...
The poet Jane Hirshfield reminds us that writing is like trying to slip the halter on a horse that shies away. We've all known the frustration of trying to capture in words--get down on paper-- what it is we want to say. If it's difficult to please ourselves when we write, what happens when we try to meet the expectations of others as well? In this class, we make a community of writers willing to share both the excitement and fear of writing--an excitement and fear that are present in any act of discovery. And all good writing is discovery. In this class, you'll throw yourself into the writing life. You'll find your own ideas as you write informally in an ongoing journal; you'll read carefully the ideas of others and explore how to express your responses in papers that interpret or persuade or analyze. With your peers, you'll critique and revise--helping each other get ever nearer to the clear-minded, clear-worded beauty of good prose (that tricky horse!).
Text: A POCKET STYLE MANUAL (Hacker); others as announced
Credit/Evaluation: Students are expected to make a commitment to our writing community, bringing with them an absolute respect for the potential of each voice--their own as well as that of others. They'll participate in the growth of those voices by: completing all writing assignments and rewrites; studying all assigned readings; taking an active part in class discussions and peer critiques. The nature of workshop is collaborative and supportive-dare I say loving? Attendance is required: more than three absences and you will not receive credit for the class. Writing will include personal essay; interpretive essay; precis; analytical essay; papers of argument and research.
Tag (1 credit)
Materials Fee: $7.20
What is a comma but a claw rending the sheet, the asthmatic's grasp? What is a question mark but what's needed to complete this thought? Punctuation: what is it, after all, but another way of cutting up time, creating or negating relationships, telling words when to take a rest, when to get on with their relentless stories, when to catch their breath? - Karen Elizabeth Gordon
If you care even the least whit about how you write, this is a class for you. We will certainly examine the rules and principles of English composition, including grammar, punctuation, word usage, sentence construction, and strategies for proofreading and revision. But such examinations are sometimes dull, stuffy, self-righteous, and boring. Ours will attempt a more stylish exploration of written style, like trying on hats in a haberdashery, or hounding the hobgoblins from our foolish consistencies, or swinging outward on a swaggering buccaneer's highest rope. Will it be dangerous? Of course! An education should be.
So come all ye word-sick, word-loving, word-puzzled pilgrims. Bring your grammatical contusions and confusions. Your punctuated paralysis. Your fears of saying what you have to say, clearly and directly. Together we will try to unlock the mysteries of writing with style (or at least help decide when to use a dash - when parentheses). We will un-dangle our participles, un-awk our words. All are welcome to take this course. This will be a fun and challenging one-credit course, hopefully helping each of us get out of our one-horse towns, tilt at a few windmills, and learn what there is to learn in the wide, wide world of writing well.
Texts: A DASH OF STYLE by Lukeman
Credit / Evaluation: Faithful attendance. Active participation in all in-class writing exercises. Quality and completion of weekly writing exercises. Presentation of a special project.
Bornzin (3 credits)
Materials Fee: $15.75
Note: This class will be coordinated by Fairhaven College and/or Huxley students under the supervision of Dr. Bornzin. For guidelines for such courses, see the "Student Guide to Fairhaven College."
The field of human ecology explores relationships between human systems and the environment. Such systems may be considered sustainable if they are maintained and renewed through internal processes and external interactions which are non-exploitative and do not rely on non-renewable resources. This class explores the concept and physical reality of sustainability through shared reading, group interaction, and the development of new skills. The class is intended to further students' awareness of their own ecological relationships, and to enable students to live more simply, in greater harmony with the environment. The most basic human activities of growing and gathering food and herbs, creating shelter, restoring and maintaining the natural environment, and developing cooperative communities are examined in light of the principle of sustainability. Consumerism, technology, food, agriculture, and the many faces of change will be addressed and discussed in a comfortable yet challenging group environment. Academic studies, including models of sustainable development and appropriate technology, complement the learning and practice of practical skills such as making compost and growing vegetables using the five-acre Outback Outdoor Experiential Learning Site.
Texts: Discussions will be based on readings available on-line, and on individual student research. Readings vary each quarter according to the interests of the class, but typically include articles such as Wendell Berry, "Waste"; Gary Snyder, "Four Changes"; Gary Paul Nabhan, "Food, Health, and Native American Agriculture"; David McCloskey, "Cascadia"; Dana Jackson, "The Sustainable Garden"; Susan Griffin, "Split Culture"; Peter Berg, "A Green City Program"; and selections from STAYING ALIVE by Shiva, ONE STRAW REVOLUTION by Fukuoka, IN THE ABSENCE OF THE SACRED: THE FAILURE OF TECHNOLOGY AND THE SURVIVAL OF THE INDIAN NATIONS by Mander, and ECO-JUSTICE: LINKING HUMAN RIGHTS AND THE ENVIRONMENT by Sachs.
Credit/Evaluation: Students are expected to attend regularly and to participate actively in the class discussions, exercises, and outdoor projects. For experiential learning to be successful, students must be present and engaged. Students will also be required to write one five-page research paper on a related topic, or a reflection paper on a service learning experience of their choice, and make a brief presentation of their topic or experience to the class.
Bornzin (4 credits)
Several years ago, in a large dietary study undertaken in the State of Minnesota, researchers were shocked to find a statistically significant correlation between the eating of oatmeal and stomach cancer. Imagine the headlines: OATMEAL CAUSES STOMACH CANCER! On further investigation, however, they discovered that many people with stomach cancer liked to eat oatmeal because it was easy on their stomachs. So eating oatmeal didn't cause cancer; cancer caused eating oatmeal! Correlation does not imply cause.
Statistics are all around us every day--in the newspapers, on TV, in textbooks in practically every field, in medical research, in environmental studies, in political decisions, in public debate. Statistics are used and abused in nearly every argument, court case, and cause. At times we may be deceived by an improper use of statistics or by our own uncritical acceptance, and find ourselves believing or acting on a false claim. At other times, we may be so saturated with statistics or so cynical about their reliability that we just dismiss them with the cliche', "you can prove anything with statistics." Some people are downright stats-phobic, disempowered by immediately shutting down in every encounter with statistics.
The objective of this class is to help develop a stronger critical understanding of statistics and statistical arguments, their strengths and weaknesses, uses and abuses, to diminish the chance of being deceived by them and to increase confidence in dealing with them. Through examples, exercises, case studies, and projects linked to real-world realms of interest such as social, environmental, health, and legal issues, we will gain familiarity with terms, concepts, and techniques ranging from graphing to hypothesis testing.
Texts: To be selected. Recommended (available on reserve): STATISTICAL ANALYSIS WITH EXCEL FOR DUMMIES (2nd Ed), by Schmuller; STATISTICS: Cliffs Quick Review, by Volker, et al.; THE SPIRIT LEVEL: WHY GREATER EQUALITY MAKES SOCIETIES STRONGER, by Wilkinson and Pickett; DAMNED LIES AND STATISTICS: UNTANGLING NUMBERS FROM THE MEDIA, POLITICIANS, AND ACTIVISTS, by Best; HOW TO LIE WITH STATISTICS, by Huff, 1954 (a real classic!).
Credit/Evaluation: Students are expected to attend regularly, participate actively in class discussions and exercises, complete reading assignments and homework exercises, bring several examples to class of the uses of statistics in their particular fields of interest, and complete and present to the class a project (preferably with a small group) which involves forming and testing a hypothesis, the gathering of data, the creative use of graphical techniques, and the use of statistical techniques.
S'eiltin (4 credit)
Materials Fee: $23.97
In this studio art class we will explore various skills and techniques in relief printing. A relief print is created by carving into a surface that yields an image by inking only the raised areas. This technique can be applied to a wide variety of surfaces, which are considered plates. We will begin by carving into linoleum blocks, and later work with wood and plexiglas. Of all the forms of expression in printmaking, the relief print is the most ancient. In the process of creating relief prints we will also explore some of printmaking's rich history.
The primary focus of this class will be relief printing and its history, but we will also create and combine experimental printing techniques. Monotypes and collographs are some of the alternative printing methods that will incorporated with relief techniques. Also emphasized in this class will be the importance of content and visual narratives. Students will be encouraged to create images based on a theme of their choice. Personal themes will be developed throughout the quarter with feedback form classmates and instructor. The goal is to create images that successfully reflect a particular subject matter.
Text: THE COMPLETE PRINTMAKER by Romano.
Credit/Evaluation: Final prints will be critiqued twice a week. Final evaluation is based on the student's ability to break creative boundaries and to produce technically skilled prints that successfully reflect the development and refinement of a specific subject matter or theme.
Eaton (2 credits)
Materials Fee: $8.18
This course combines playing traditional folk music with the study of the contexts in which folk music has evolved. This quarter the course will focus on the influences of the Jamaican singer Bob Marley on modern folk music. In 1999 Time magazine chose Bob Marley & The Wailers' Exodus as the greatest album of the 20th century. We'll examine how Marley's music was influenced by the social issues of his homeland, his role as a voice to the specific political and cultural nexus of Jamaica and his influence on modern music.
In addition, each student will also be asked to introduce one song to the class that enriches our knowledge of folk music or the context within which folk music has been written and performed. We will encourage, that these songs come from the wide repertoire of contemporary folk music. Students will write a short research paper that forms the basis for their presentation on the song and its context. Students will also be responsible for learning and practicing the songs that are presented to the class, including practice in small groups. Students are encouraged to gain practice at playing one or more folk music instruments during the course, and are invited to join the course even if they are beginners at playing an instrument or if they prefer to just sing.
Texts: Selected readings on Blackboard.
Requirements for credits and criteria for evaluation: Regular attendance and participation in our weekly sing, informed participation in class discussions, one short research paper and song presentation, and practicing music in a small group.
Writing in this course: One draft of a 1 page research paper.
S'eiltin (4 credit)
Materials Fee: FEE TO BE ADDED
Prerequisites: permission of instructor.
As early as 330 A.D. artists of the Byzantine Empire mixed various mediums, such as gold glitter, into their mosaics, frescoes and manuscripts, and artists during the Renaissance employed gold leaf in their painting to achieve vibrancy. It was in the 20th century, however, that the term "mixed media" was coined. Artists seeking alternatives to what was considered artistic academicism began including nontraditional objects in their artwork. Picasso challenged high art standards, for instance, by gluing paper and oilcloth to canvas, as a result a new art form called "collage" was born. Today, artists are restricted only by their inability to take creative risks, as no holes are barred in the practice of combining disparate mediums.
In this class we will study the history and development of mixed media art in the fine art world and define and create; collages, assemblages, photomontages, digital collages and conceptual drawings. Pencils, paint, charcoal, conte crayon, India and printing inks, and digital mediums are some of mediums that will be employed in the creation of 5 major works of art. As well as the major assignments, students will be required to research and present a Modern or Postmodern artist whose art has challenged the traditional definitions of drawing. For inspiration the class will look at the art of revolutionary artists such as Hanna Hock and Kara Walker, two women who challenged the visual representation of women in their mixed media art.
No Text Required
Credit/Evaluation: Students will be required to create approximately 5 major works of art that address the topics and techniques listed above. Minor assignments and activities, although just as crucial as the major assignments and essential in achieving successful learning experiences are; sketchbook assignments and self-directed entries, research projects and presentations, participation in critiques, workshops and consistent attendance. Sketchbook entries, approximately 75, must reference all research and art assignments. Presentations must focus on a Modern or Postmodern artist whose work reflects the topics explored in this class. Student's artwork will be evaluated on the following: the aesthetic qualities and timely execution of the art, as well as the integrity with which the work was created and completed. Students will also be strongly encouraged to take creative risks, a factor that must be present in sketchbook entries and all major drawing projects.
Feodorov (4 credit)
Materials Fee: $17.17
This class will focus on the use of acrylic painting techniques and elements of form, composition and color using still life, photographs and memory to create a minimum of 5 paintings. Projects will stress not only the rendering of objects and figures, but also ways of imbuing them with meaning and insight. Students will work during and outside of class time while maintaining a 40-page sketchbook. In addition, students will research and give a presentation to the class on an artist/painter from a compiled list. Each student will present their paintings to the class and participate in class discussions about their work. While some supplies may be provided, students must bring their own materials such as acrylic paints, canvases or paper, brushes, rags, and plastic cups for water and mixing. A materials list will be emailed to registered students a week before the quarter begins and handed out the first day of class.
Text: no text, but occasional handouts will be given.
Please note: Intro To Acrylic Painting and Advanced Acrylic Painting will be taught concurrently. The advanced level requires prior instructor approval.
Miller (2 credits)
Materials Fee: $52
This class will introduce basic camera use and video editing in the digital medium. Students will script, shoot, and edit 5 assignments using Final Cut Pro. Projects range from a 30-second commercial to a 3-5 minute final video on the student's choice of topic. The assignments are set up to encourage individual creativity & personal editing styles.
Texts: Optional, but recommended, FINAL CUT PRO 5 FOR MACINTOSH by Brennies. Students will need to purchase 5 mini DV tapes at a cost of about $25.
Credit/Evaluation: Completion of assignments, participation in class, attendance, and understanding gained from the class assignments.
Fish (4 credits)
Materials Fee: $77.21
NOTE: This course was formerly 275h. Students who received credit for 275h may not take 270h for credit.
Audio Recording Techniques I explores the techniques,tools, and technology used in multi-track recording. From a beginner's perspective, this course follows the recording process starting with the tracking session, then the overdub session, and through the mix-down session. By examining the various pieces of the recording process students will learn the concepts and skills necessary to use studio equipment such as microphones (their characteristics and placement), mixing consoles (explained in detail), multi-track recorders (analog and digital), patchbays, signal and effect processors, headphone systems, and multi-track punching and bouncing. Each student is also expected to attend a weekly two-hour small group lab, held in the studio, giving the student a chance to experience multi-track recording in a "hands-on" manner. A detailed manual will be provided to each student so that each concept will be encountered first in an assigned reading, then in lab, and finally in the class meetings. All time spent in the studio will be documented in the lab manual in a journal entry fashion.
Texts: THE RECORDING ENGINEER'S HANDBOOK (2nd edition) by Owsinski
Credit/Evaluation: Students will be evaluated through a combination of participation, attendance (lab and lecture), and understanding gained from the material evaluated from a written and "hands-on" assessment.
O'Murchu/Enwall (4 credits)
"To say that starvation depends 'not merely' on food supply but also on its 'distribution' would be correct enough, though not remarkably helpful. The important question then would be: what determines distribution of food between different sections of the community?" -Amartya Sen, Poverty and Famines: An Essay on Entitlement and Deprivation
In this course, we will address the above question by exploring the political, economic, and social power implications of the food system.
Have you ever wondered, "Why do subsidies in the U.S. raise domestic sugar prices but depress global cotton prices by 10%" or "How and why do food deserts exist in the U.S.?" or even, "When does 'voting with my fork' turn into movement building?" - perhaps you have never contemplated the exciting world of subsidies but are intrigued? Read on:
In our global food system;
- 80% of food in the world is consumed by 17% of the world's population.
- One billion people are estimated to be undernourished.
- 17% more calories per person are produced today than 30 years ago- with a 70% population increase.
So why the huge disparity?
A food system is defined by the infrastructure necessary to feed a population and is influenced by social, political, economic, agricultural and environmental contexts. We will start by looking at how the interaction of class, state, and market are influenced by divergent economic interests within U.S. regional food production (and vice versa). This includes supply management policy, evolving social structures, food aid, and the development of global trade. The second half of the course will examine global food trade more closely. We will explore the contemporary agri-food system through concepts such as food sovereignty, food justice, international food regime, and food politics. This class is for anyone who eats, who is excited about food as a social movement, or who would enjoy regular potlucks. Although not required, a course in economics would be helpful.
Required Texts: The Politics of Food Supply: U.S. Agricultural Policy in the World Economy by Bill Winders, Stuffed and Starved: The Hidden Battle for the World Food System by Raj Patel, Food Politics: What Everyone Needs to Know by Robert Paarlberg
Credit/Evaluation-In addition to regular attendance and full participation in class discussions, there will be weekly written reflections on readings, regular discussion leadership, a class project, a mid-term paper on one food commodity, and a final project focusing on your experience in the food system.
Tuxill/Balovich (4 credits)
This course will explore the importance of botanical medicine in healing traditions as practiced in a variety of contemporary cultural contexts worldwide. Students will examine the growing body of scientific research investigating and evaluating the effectiveness of traditional healing arts and herbal medicine. The course will also feature guest-lectures by Bellingham-area experts in alternative healing traditions who are integrating knowledge, perspectives and practices from Ayurveda, Traditional Chinese Medicine and Western herbology. The course learning environment additionally will emphasize gaining hands-on familiarity with medicinal plants, including what parts of plants are used, the importance of timing the harvest, and different methods for extracting and preparing phytochemical compounds.
Texts: Medicinal Plants of the Pacific West by Michael Moore The Herbal Medicine-Makers Handbook by James Green Herbal Medicine From the Heart of the Earth by Sharol Marie Tlinger
Criteria for Evaluation: Consist of a variety of assignments and presentations that will be incorporated into a Student Herbal and Recipe Book for Fairhaven College resources.
Bower (5 credits)
Prerequisites: FAIR 206A or LBRL 231.
This course will explore evolutionary theory and evolutionary history, with particular focus on the implications of evolutionary theory on human spirituality, and the perceived or real conflict between religion and evolutionary theory. We will also consider whether evolutionary biology can teach us anything important about present human behavior, asking in what ways human evolution influences our behavior - our eating habits, creative force, sexuality, spirituality, and how we relate to family, friends, and foes? We will ask whether our evolutionary past influences our choice of romantic partners (short term or long term) and how we relate to them over the short or long haul? And, can evolutionary biology inform us about how conflict and cooperation occur in human societies?
Other questions we will entertain include: What happens when scientists debate these issues in private and public? What happens when evolutionary theory leaves the halls of science and interacts with cultural forces? We will explore how evolutionary views of humans have been used to justify oppression. Finally, we will consider whether the recent resurgence of evolutionary views of human behavior are likely to play a repeat role in oppressive politics or whether they can might help us construct a more just society.
To study these questions, we will rely on readings and on a groundbreaking video series that explores evolution.
Texts: Alison Jolly: LUCY'S LEGACY: SEX AND INTELLIGENCE IN HUMAN EVOLUTION; Carl Zimmer: THE TANGLED BANK: AN INTRODUCTION TO EVOLUTION; and a text or additional readings to be determined to explore the interfaces between evolution and religion.
Requirements for credits and criteria for evaluation: Regular attendance in class, informed participation in class discussions, weekly written reactions to class readings and weekly responses to other students' writing posted to Blackboard, and two drafts of an 8-10 page paper that develops a position about issues relevant to the class.