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WWU / Fairhaven College of Interdiscipinary Studies

Winter 2014 Courses: 300 Level

11248 | 303A Core: Interdisciplinary Concentration Seminar

Akinrinade (5 credits)

 

Materials Fee: $2.00

Prereq: Fair 101a, Fair 201a, and 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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11249| 305A Writing and Transition Conference

Conton (3 credits)

 

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: Friday, January 10th from Noon-1:00pm in room FA 307 OR Tuesday, January 14th from 4:00-5:00pm in room FA340.

 

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, January 24.

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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14073 | 314E Critical Pedagogy

Velez (5 credits)

 

Prereq: Amst 301 or Fair 366e

Note: This course is restricted to students in the Education and Social Justice Minor in Phase I of Registration

 

Course description to be added

 

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13846 | 319B Current Issues in Law: Climate Change

Helling (5 credits)

 

Prereq: Fair 311b or Plsc 311 or permission of Instructor

THIS COURSE MEETS THE UPPER-DIVISION SOCIETY AND THE INDIVIDUAL CORE REQUIREMENT.

 

As part of Fairhaven’s Special Quarter on Environmental Justice and Climate Change (winter quarter 2014), this course offers an introduction to the laws, legal issues and problems surrounding the topic of climate change. What are the current U.S. laws that address climate change and are they effective? Are there international laws that shape our approach to climate change? What should be the role of the legal system in this global crisis? No prior knowledge of the U.S. legal system or environmental law is expected and non-Fairhaven students are welcome to take this introductory class. Please contact the instructor at Julie.Helling@wwu.edu if an override is needed to register for the course.

 

Texts: Course Manual of court cases and laws compiled by instructor; introductory text on the topic of Environmental Law (specific title still being determined)

Note: the Special Quarter classes are linked through the World Issues Forum, as all of the classes including this one will be attending the presentations given each Wednesday (noon-1:20 p.m.) on the general topic of Environmental Justice and Climate Change throughout the quarter.

 

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11579 | 323G Imaginative Writing II: Children Picture Books

Cornish (4 credits)

 

Materials Fee: $7.51

Prereq: Fair 222g or Fair 222h, creative writing course, or instructor permission

THIS COURSE MEETS THE UPPER-DIVISION HUMANITIES AND THE EXPRESSIVE ARTS CORE REQUIREMENT.

 

"And now," cried Max, "let the wild rumpus start!"

 

It's been over forty years since Maurice Sendak won the Caldecott Medal for Where the Wild Things Are, a book which continues to enter the imagination of each generation. How did this simple text of ten sentences become a children's classic? From The Tale of Peter Rabbit to Madeline, Winnie-the-Pooh to George and Martha, stories from childhood--and the heroes who inhabit those stories-- often stay with us more vividly than the books we read as adults. This class looks at some of our favorite picture books and how they are constructed, especially the magic by which text and illustration work together to tell a story (six pages of "Wild Things" has no text). In what way does a book for young children differ from one for adults? C.S. Lewis once said, "I am almost inclined to set it up as a canon that a children's story which is enjoyed only by children is a bad children's story." Students explore this question of audience, as well as other aspects of the picture book, by creating their own texts and illustrations in a workshop setting (that is, through generative prompts as well as critique). Although this is not a survey class, students familiarize themselves with the genre by reading and studying a number of picture books over the quarter. Let the wild rumpus start!

 

Credit/Evaluation: Students are expected to make a commitment to the class. Such commitment requires steady effort in one’s own work (the timely completion of assigned writing and reading), as well as thoughtful, active responses to work done by others. Rewriting of drafts and essays is also required for credit; a portfolio of all writing done during the term will be due at the end of the quarter. Regular, prompt attendance is expected; more than three absences and you will not receive credit for the class. Evaluation includes a final picture book project.

 

Text: To be announced. Students will also be responsible for a class text printed from postings on Canvas.

 

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13856| 336B Topics Social Issues: Science Fiction Film

Staff (4 credits)

 

Materials Fee: $6.00

Prereq: Fair 203a or equivalent

THIS COURSE MEETS THE UPPER-DIVISION SOCIETY AND THE INDIVIDUAL CORE REQUIREMENT.

 

In this class, we will watch classic and new films and learn the history of the science fiction genre (and how it differs from horror films), scholarly interpretations of science fiction movies and we will discover how these films reflect the anxieties, fears, and concerns of American society at the time they were released.

 

Beginning with the 1902 classic by Georges Méliès, this class will also screen, “Destination Moon,” “2001: A Space Odyssey,” “Andromeda Strain,” “Blade Runner,” “Brother From Another Planet,” “Gattaca” and “District 9.”

 

Required reading: Vivian Sobchack, Screening Space: The American Science Fiction Film (on sale at associated bookstore).

Articles on CANVAS.

Other requirements:

4 (4 pages) Short analyses of the films

1 (5-8 page) research paper on a film of your choice

Help lead a discussion on one of the films

Informed participation in class discussions

Regular, punctual attendance

 

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13840 | 336B Topics in Social Issues: Genocide

Akinrinade(4 credits)

 

Materials Fee: $6.00

Prereq: Fair 203a or equivalent

THIS COURSE MEETS THE UPPER-DIVISION SOCIETY AND THE INDIVIDUAL CORE REQUIREMENT.

 

This course explores the meaning, origins, forms and causes of genocide. It will examine major cases of genocide up to the present century as a basis for understanding the phenomenon. Case studies will include the experience of Native Americans, the Armenians in the Ottoman Empire, the Nazi Holocaust, the Khmer Rouge period in Cambodia, and the cases of Rwanda and the Darfur region of The Sudan. To better understand the subject, the course will compare genocide, considered by many as the “ultimate crime” with other cases of mass murders, including war crimes and crimes against humanity – a recurring part of armed conflict in more recent times. The course will also explore ways in which this crime can be confronted and the role of international law in dealing with genocide.

 

Texts: THE ROOTS OF EVIL: THE ORIGINS OF GENOCIDE AND OTHER GROUP VIOLENCE, (2003) by Staub, Ervin

 

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. A final portfolio is also required at the end of the quarter containing all written work by the student.


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13852 | 336B Topics in Social Issues: Right to Water

Osterhaus (4 credits)

 

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. Through the lens of water as a human right, 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 climate change, privatization of water, 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. In the midst of disturbing information 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. In connection with Fairhaven’s special quarter on climate change and environmental justice, students will be participating in the World Issues Forum, actively engaged in water awareness and education on the campus and in the local community through creative educational actions and involvement with local grassroots efforts.

 

Texts: TBA

 

Credit / Evaluation: Attendance is to be consistent and fully engaged. In addition to the class hours, students will be required to participate in the World Issues Forums and several community events related to the Special Quarter themes of Environmental Justice and Climate Change. Students are expected to come to each class well prepared having done a thoughtful and thorough reading of all the material, write a number of short papers, take leadership in class facilitation, research an issue related to water and Fairhaven’s special quarter theme on climate change. Together we will decide and implement creative, educational consciousness-raising activities on campus/community and do research to support the chosen educational/action project. This may require meeting several times outside of the regular class hours.


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14024 | 336B Topics in Social Issues: Women of Color

Staff (4 credits)

 

Materials Fee: $6.00

Prereq: Fair 203a or equivalent

THIS COURSE MEETS THE UPPER-DIVISION SOCIETY AND THE INDIVIDUAL CORE REQUIREMENT.

 

This class explores the history and experience of women of color in the United States. Prior classwork in U.S. history, women’s studies, or American Cultural studies is essential for this class. This is because we will spend our time exploring how race, class, gender, and sexuality mediate one another in the lives of Asian, Black, Latina, and Native American women. One aspect we will closely examine is the dialectics of women’s oppression. Women of color experience oppression in different ways and have created different forms of resistance based on their group’s historical experience, culture, access to education and finance, and methods of political organizing. Another theme will focus on coalition building across ethnic and racial lines that go beyond—in the words of June Jordan—“getting the monsters off our backs.” The goal of the course is to look at past and present concerns and tactics that will help all women—of any color—to take pride, to take strength, and to take stock for the future.

 

Required Readings: Possible texts include: Changing Woman, by Karen Anderson; La Chicana, by Irene Blea; From Mammy to Miss America, K. Sue Jewell

Articles through Proquest and on CANVAS

 

Written Requirements:

Collaborative, oral presentations 3 (5 page) papers.

 

Other Requirements:

Regular, punctual attendance.

Informed participation in class discussions.

Work collaboratively with other students


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14091 | 336B Topics in Social Issues: Post-Modern Schools

Marshak (4 credits)

 

Materials Fee: $6.00

Prereq: Fair 203a or equivalent

THIS COURSE MEETS THE UPPER-DIVISION SOCIETY AND THE INDIVIDUAL CORE REQUIREMENT.

 

We will learn about the differences between pre-modern, modern, and post-modern forms of education and how each of these forms corresponds with a particular kind of consciousness, as described by the Spiral Dynamics model (Clare Graves, Don Beck, Ken Wilber, Steve McIntosh et al). We will explore the dominant elements in modernist schooling (so-called standards and high stakes testing; the Common Core and its test regime) and consider how these elements both control public education in the US today and are being intensified by current political leaders. Then we will examine the multiple forms of post-modern education, including Montessori, Waldorf, free/democratic/Sudbury schools, ENKI, Self Design, and others. We will also explore a holistic curriculum, including intuition, the mind-body system, subject and community connections, and earth and soul connections.

 

Toward the end of the course once we have gained significant understanding of post-modern education, we will consider the following question: if we believe that we absolutely need to make forms of post-modern education much more widely available to young people if we hope to create a sustainable and more just culture, how can this be accomplished?

 

Texts: Miller, John P. (1988, 1996). THE HOLISTIC CURRICULUM. Toronto: University of Toronto Press; Miller, Ron (1990, 1997). WHAT ARE SCHOOLS FOR? Brandon Vt.: Holistic Education Press. (CD); Miller, Ron (2008). THE SELF-ORGANIZING REVOLUTION. Brandon Vt.: Holistic Education Press.

 

Credit/Evaluation: Written assignments: Your “schooling autobiography;” two reflection papers on topics of emergent interest; “design your 21stcentury school.” Regular attendance and active participation.


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14102 | 336B Topics in Social Issues: Lifespan Psychology

Lippman (4credits)

 

Materials Fee: $6.00

Prereq: Fair 203a or equivalent

THIS COURSE MEETS THE UPPER-DIVISION SOCIETY AND THE INDIVIDUAL CORE REQUIREMENT.

 

Lifespan Development: The Human Jumbalaya

How does biology shape personality? How does culture, parenting and environment influence and mold genetic potential across the lifespan? This course will explore the complex dynamic between the biological, psychological, cognitive and socio-cultural forces that shape human development and the human experience from conception to death. Drawing on research and perspective from a variety of disciplines to include neuroscience, anthropology, psychology, as well as practical applications from medicine, social work, and education, we will develop a deep understanding of the interplay between forces. We will explore the concept of culture and its role in shaping the genetic potential of the human open-biogram. We will explore developmental universals and context-specific variations. Students will be asked to integrate theoretical perspectives and personal experience and observation.

 

Topical themes to be addressed (topics may vary and be adjusted depending on student interest and focus):

(a note: all topics will be addressed from a holistic and cross-cultural/global perspective)

• Temperament and personality development across the lifespan: the interaction between heredity and environment

• Birth: a medical or natural event?

• Attachment and brain development

• Abuse and resiliency

• Childhood today: raising good people in an era of over consumption and entitlement

• ADHD/depression and children. Are we overmedicating?

• Parenting and socialization across cultures

• Cognitive development and individual difference: intelligence, linguistic development

• Rites of passage: adolescence brain development and the search for identity, meaning and self.

• Gender identity development and sexuality

• Family systems: Impact of divorce on adults and children

• Making Relationships Work • Identity shifts and accommodation across the lifespan

• Finding meaning and purpose in middle age

• Aging: integrity vs. despair

• Living triumphantly. What we can learn from other times and cultures

 

Texts: TBA. Supplementary readings will be provided.

 

Credit/Evaluation: Evaluation will take into account attendance of class sessions, active, prepared engagement in class discussions, activities and other in-class work. Demonstration of understanding of course materials and topics, as well as ability to apply concepts and perspectives. Students will participate in a variety of reflective activities and assignments, and will participate in a topical panel presentation to peers.


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14099| 336M Topics in Music & Society: Music & Shaping Modern American Empire

Bower (4 credits)

 

Materials Fee: $12.00

Note: This course is restricted to students in the Audio Technology, Music and Society Minor in Phase I of registration.

THIS COURSE MEETS THE UPPER-DIVISION HUMANITIES AND THE EXPRESSIVE ARTS CORE REQUIREMENT.

 

This course will investigate the central role of music in shaping BOTH the norms and mainstream cultural values of American imperialism AND outlets for countercultural subversion and refusal. In particular, music has helped shape our understanding of the relationship of American culture and identity to political violence and war, race relations and racism, consumerism and mass culture.

 

What does it mean that the same electronically-generated sounds and hiphop music in many first-person shooter video games also saturates the radio airwaves, is half-time entertainment at the Super Bowl, and appears in video manuals for training soldiers in modern warfare? What is the significance of slave songs from the 1700s being sung in the 20th/21st centuries by various groups engaged in nonviolent dissent? How does music and sound represent and stimulate the visceral thrill of violence in films about modern American combat? Why are punk, death metal, and jingles from American commercials approved for use in the interrogation of suspected terrorists? How does the synergistic relationship at the root of contemporary capitalism, between Disney and McDonalds and the entertainment industry for example, shape the psyche of American youth?

 

This course will get at these questions and many more in an attempt to unveil how music reveals the dynamics and tensions between the mainstream and the margins of modern American culture. From slavery to the contemporary militarized American dream, from the complexities of minstrelsy to the politics of censorship, we will consider how music sounds the mythologies and ideologies of Americanism, notating the interval between radical freedom and conventional normativity.

 

Texts: Our primary texts will be the songs, sounds, and musical compositions of American culture. In addition, we will draw on written texts to help us critically analyze the relationship between music, American history, and structures of cultural normativity. We will draw our historical focus from Howard Zinn’s A People's History and our critical perspectives from authors including Naomi Wolf, W.E.B. DuBois, John Holloway, George Lipsitz, Noam Chomsky, Eric Schlosser, Jean Baudrillard, Peter Singer, and Manning Marable.

 

Credit/Evaluation: Credit will be awarded based on regular attendance, preparation, and informed and active participation; close study of the assigned readings and substantive contributions to class discussion; timely completion of several short essays over the term and a final paper or presentation.


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14181| 336M Topics in Music & Society: Creative Expression Through Musical Improvisation

Sehman (4 credits)

 

THIS COURSE MEETS THE UPPER-DIVISION HUMANITIES AND THE EXPRESSIVE ARTS CORE REQUIREMENT.

 

What music can we create from a musical score consisting of shapes and colors, or by playing only a single pitch? How can we use the principles of North Indian Raga and free jazz to create meaningful improvised music? How can we develop deep listening and non-verbal communication to create spontaneous music with other people? This course will address such topics.

 

In this course, in-class guided improvisations will be used to develop and broaden creative improvisation skills. These improvisations will focus on specific topics like risk and trust in improvisation, silencing the inner critic, and technique vs. creativity. Listening, reading and discussion will accompany playing to examine improvisation in its many styles and languages including world traditions, jazz and the avant-garde.

 

In addition, each student will create an improvisation that will be performed by the class. This will involve making a performance score for the class that could range from text instructions on a page, to a graphic score, to an animated video. As a class we will also prepare and perform composed improvisations by two great minds of improvised music.

 

Players of any instrument and level are welcome.

 

Texts/Listening: To be announced. Readings will range from selected academic sources to the Zen poetics of John Cage. Listening will range from Shona mbira to Ornette Coleman.

 

Credit/Evaluation: Active and open participation in class improvising is required. Note that this will require some artistic and social risk. Students will also be expected to participate in class discussion and have completed all accompanying listening and reading assignments.


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13841 | 336N Topics/Sci: Climate Change: Systemic Solutions, Personal/Global

Bornzin (5 credits)

 

Materials Fee: variable fee

Prereq: Fair 206a or equivalent

THIS COURSE MEETS THE UPPER-DIVISION SCIENCE CORE REQUIREMENT.

 

You are driving down the highway at 60 miles-per-hour and see a sign that says, “Danger! Cliff ahead!” What do you do?

(1) Think, “No way! What idiots!” and drive merrily on.

(2) Think, “Bummer,” and buckle your seatbelt.

(3) Take an alternative route.

 

As people and governments begin to see the early signs that the climate change is already happening—evidence of global warming, ocean acidification, melting polar and glacial ice, sea-level rise, more extreme weather events, extended droughts—they are beginning to move beyond denial to Option 2 above, asking vital questions such as: How can we mitigate or lessen the ill effects of these changes on ourselves, our families, our communities, on distant others and even other species? In other words, where is the seatbelt?

 

Our long evolutionary history shows the human species to be quite adept at adapting to diverse and changing circumstances, though not without suffering. So it’s good that people are looking for ways to adapt to climate change and prepare for its effects as much as possible to minimize hardship and suffering. But we can do much better. Climate change is not primarily a “natural” disruption that we must accommodate, but a human-caused one, a problem of our own making, a problem we exacerbate (some more than others) every day by our choices, policies, and actions. This is great news (thank you, climate scientists!), because it means that by making different choices, policies, and actions we can significantly lessen the problem and thereby lessen the suffering and the need for costly adaptations. An ounce of prevention is indeed worth a pound of cure. We have the power to stop the car and take an alternative route.

 

This class will focus not on how to mitigate and accommodate the problems, but on how to fix the seemingly out-of-control systems that are causing the problems. Our approach to environmental justice will be to focus not simply on the inequitable impacts of climate change, but on the injustice of the extreme maldistribution of power and wealth that contributes to the severity and seeming intractability of the problems. We will search out a variety of systemic solutions and then ask: If there is scientific consensus on things that could be done to slow global warming and climate change, why are we not doing them? What are the roadblocks to change? Who is blocking change, how, and why? What are ways around or through these roadblocks? How exactly do present political and economic arrangements prevent change? What are other countries doing? How does one engage diverse groups with diverse needs and interests in solving these problems? What does technology offer?

 

These questions are deeply interdisciplinary, involving economics, politics, technology, communication, psychology, and more. They are meant to inspire student projects on ways to personally engage in systemic solutions that fit their priorities and passions—political activism, community-building, social entrepreneurship, creative communication of ideas through writing or video, mediation, joining campus or community groups, researching programs or opportunities for possible future participation, examining the impact of lifestyle and behavioral choices, or simply re-framing their current studies and professional goals in relation to the challenges of climate change. Our overall objectives are short-term direction and empowerment, and long-term vision and hope.

 

Texts: To be selected. Under consideration: WHY WE DISAGREE ABOUT CLIMATE CHANGE: UNDERSTANDING CONTROVERSY, INACTION AND OPPORTUNITY (2009), by Mike Hulme; and THE ECONOMICS AND POLITICS OF CLIMATE CHANGE (2011), by Dieter Helm & Cameron Hepburn.

 

Credit/Evaluation: Students are expected to attend regularly; to read and reflect on the assigned readings and to contribute thoughtfully to class discussions, exercises, and the class blog; to attend and write a short reflection piece on each week’s World Issues Forum; to think seriously about, develop, and imaginatively articulate an individual or group project focusing on a particular systemic solution to the problems of climate change, and how individuals can personally engage in advancing that solution; and finally, help organize a 15-minute class presentation to the other classes at the end of the quarter. Passion, commitment, openness, and a willingness to share and support others will be valuable assets in creating an exciting and visionary learning community.


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13842 | 336N Topics in Science: Global Climate Change

Bower (4 credits)

 

Materials Fee: variable fee

Prereq: Fair 206a or equivalent

THIS COURSE MEETS THE UPPER-DIVISION SCIENCE CORE REQUIREMENT.

 

Who Wins & Who Loses

A few decades ago most discussions about climate change focused on whether or not it would happen and, if it did, how strongly it would impact the earth’s ecology and human societies. More recently, we have realized that the world’s ecosystems are already experiencing climate-induced changes, and human societies are already impacted. The ability to adapt to current and future changes is one of the key ecological and political questions facing us today. How a particular society is affected by climate change is a complex question influenced by any particular region’s climate and ecology, but also by economic, political, cultural, and historical considerations. In this course, we will use case studies to explore how climate change is affecting and is predicted to affect ecosystems and human societies in different parts of the world. We will pay attention to what climate science predicts for these regions, but will also consider how cultural, political, and economic factors will help determine the effects of climate change for any particular society. We will consider, for instance, how climate change is likely to play out in wealthy and poor nations, considering such issues as food security and sea level rise, amongst others. And, we will study how people around the world are taking action in the face of climate change in their region, and how best people can counter a global threat such as climate change. This is a class that students will largely create – from working together on the syllabus, to assigning readings to each other, to working to develop case studies.

 

Texts: Nancy Lord, Early Warning: Crisis and Response in Climate-Changed North; other readings to be assigned by students developing case studies.

 

Credit/evaluation: Attendance, informed participation in discussion, participation in small-group development and teaching of one or more case studies, two drafts of a research paper, other smaller writing assignments.


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14098 | 336V Topics in Art: Arts Activism

Goldman (4 credits)

 

Materials Fee: $17.17

Prereq: Fair 202a or equivalent

THIS COURSE MEETS THE UPPER-DIVISION HUMANITIES AND THE EXPRESSIVE ARTS CORE REQUIREMENT.

 

Most of the art of this century has been produced, distributed, and consumed within the context of the art world. Personal expression has guided it's makers, and discrete objects have more often than not been the product of this expression. Beginning in the late 1960's changes began to occur in the art world that reflected changes in the "real world". Shaped as much by the "real world" as by the art world, activist art reflects a coming together of the aesthetic, sociopolitical, and technological impulses of of the last fifty years or more that have attempted to challenge, explore, or blur the boundaries and hierarchies traditionally defining the culture as represented by those in power. Artists are called to give new voice and visibility to the disenfranchised and to connect art to a wider audience. The formal strategies for the creation and distribution of these new practices are different from those of the past. There is often a great deal of research, organizational activity and often at the heart of the work is collaboration. This collaboration includes expertise from outside the art world, the collaboration of artists across media and the participation of the audience or community. In this course we will look at art that has been made in the spirit of activism. These practices are characterized by the innovative use of public space to address issues of sociopolitical and cultural significance, and to encourage community or public participation as a means of effecting social change. Some of the work we will discuss often blurs the line between art and life. Students will be responsible for numerous readings, an assigned text and an independent research/art project that will address an issue of interest to the student (s). The possibility of collaboration will be discussed.

 

Texts: BUT IS IT ART? THE SPIRIT OF ART AS ACTIVISM, edited by Nina Felshin; LIVING AS FORM: SOCIALLY ENGAGED ART FROM 1991-2011, edited by Nato Thompson; MAPPING THE TERRAIN: NEW GENRE PUBLIC ART, edited by Suzanne Lacy

 

Credit/Evaluation: Students will be expected to develop 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. 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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14059 | 336V Topics in Art: Ensemble Performance

Robinson (5 credits)

 

Materials Fee: $17.17

Prereq: Fair 202a or equivalent

THIS COURSE MEETS THE UPPER-DIVISION HUMANITIES AND THE EXPRESSIVE ARTS CORE REQUIREMENT.

 

RELATIONSHIPS.

As human beings, we improvise, calculate, and navigate our interpersonal relationships according to a variety of needs, desires, fears, and perceptions of status, power, and belonging. In this course we will embark on a creative exploration of our personal and collective experiences with regards to interpersonal relationships, and discover how each of us is learning what it means to be a relational being. From our explorations, discussions, creative source-work, and readings we'll work together to devise and craft a full-length original performance. Our material will stem from creative writing, poetry, dance, and improvisational sketches. We'll offer up insights to such questions as: How do interpersonal connections and disconnections inform, affect, transform, and grow us as individuals? What nurtures or damages a community? How do romantic relationships begin, and how do they change over time? Does formal/legal commitment shift the dynamics of a relationship? How do expectations affect love? What are the advantages and disadvantages of "hooking up?" What is intimacy? Ester Perel asks, "Can we desire what we already have?" What is the nature of attraction? Jealousy? Friendship? Possessiveness? Love? Loneliness? Why do we seem to "click" with some people, and find others difficult to be around? And, how do we nurture and challenge our relationship to Self?

 

For students who have never set foot onstage before, perhaps this is where your relationship to being seen in new ways begins. For those with more stage experience, this is an opportunity to explore devising. Above all, this course is designed as a creative exploration with the intent to understand more fully the nature of who we are to one another, even as we explore ourselves as artists deep in the creative process. We'll work slowly, but also with great rigor—training in Viewpoints and Composition, writing lyrics and original music, crafting poetry, scenes, and monologues; splicing the piece throughout with dynamic movement and original choreography.

 

Like any ensemble work, performance takes extra time. This is an intensive! There will be evening rehearsals scheduled (once we have met as a group we will determine a regular schedule outside of class). Students who are up for this challenge will reap the extraordinary benefit of not only creating something exquisite, but also forming a tightly-knit ensemble. We'll work hard, eat some meals together, discuss, source, and share in this powerful creative experience. Performances: We will be performing at least one weekend (Friday and Saturday eve, Sunday matinee) for students, faculty, staff, and the general public.

 

Required Texts: SEX AT DAWN: HOW WE MATE, WHY WE STRAY, AND WHAT IT MEANS FOR MODERN RELATIONSHIPS, by Christopher Ryan and Cacilda Jetha; MATING IN CAPTIVITY: UNLOCKING EROTIC INTELLIGENCE, by Ester Perel; THE FUTURE OF LOVE, by Daphne Rose Kingma

 

Credit/Evaluation: Again, this is ensemble work. Showing up with a spirit of adventure and vulnerability, a willingness to collaborate and creatively risk, a true generosity toward others, and a commitment to "exquisosity" founded in rigor and attention to the creative needs of the project is essential. Students may not have any more than 3 excused class absences during the quarter if they wish to get credit for the course. Evening rehearsals are something to which each student will strive their very best to attend, even if it means rearranging schedules. Once in production, it is crucial that students attend all rehearsals they are called for. No student is allowed to miss any tech or dress rehearsal, or any of the performances.

 

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13843 | 341T Awareness Through the Body II

Conton (4 credits)

 

Materials Fee: $11.44

Prereq: Fair 243r or instructor permission

 

A continuation of Fair 243t, and open only to those who have completed the first course. We will continue the work of coming to know ourselves and external reality through our bodies and our senses. The philosophical concepts of the first course, such as sensory awareness, intention, being grounded, being centered, and the connection of mind and body, will receive deeper attention, both experientially and intellectually. The experiential work will be slower, deeper and more detailed than the first course. In addition, more attention will be directed to the underlying principles and theories of somatic work, through reading as well as practice. Unlike the first course, we will consider various notions of "correctness" in human movement and function.

 

Texts: (Tentative: Don Johnson, Groundworks: Narratives of Embodiment; Andrea Olsen, Body and Earth: An Experiential Guide. Additional required and supplementary readings will be on Canvas.

 

Credit/Evaluation: Regular punctual attendance and substantive participation in the class sessions; close study of the texts and demonstration of learning in class discussion. Students will design a class experience or write several assigned short essays, interacting with experiential assignments given in class and reflecting on the class materials and experiences. The work of the instructor consists of asking questions, posing problems, and designing experiences within which student self-evaluation can take place. Students are evaluated on the depth of their involvement in the self-exploration opportunities provided.

 

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14060 | 343U Advanced Topics in Mind & Body: Embodied Agency

Nichols (4 credits)

 

Materials Fee: $15.47

Prereq: Fair 201a

 

“When we are engaging introceptive awareness we momentarily break the hold of the habitus, we ‘unbraid’ movement practices from ideological ends and open up the possibility of no longer perpetuating ‘social structures at the level of the body.” Deidre Sklar

 

We are Homo Sapiens. Sapiens, which is Latin for wise or knowing. Sapience comes from this root and refers to wise judgment and judgment refers to the understanding of rightness or wrongness, usefulness, or value of activity and action. As humans we have named ourselves after our capacity for reflective awareness, we are aware that we are aware and within this awareness we must act and we must choose. With awareness comes language, which is paramount for our coordinated construction of identity, action, and culture. In order to have a sense of agency we must be able to choose some direction, some course of action and coordinate activity, language, and relationships to produce our intentions. Although it is easy to take agency for granted it is built on a highly complex and interdependent relationship between cultural practices and embodied activity. This course follows two major threads, embodiment and agency, to understand how they work together to create our movement through the world. Although “movement through the world” is seemingly simple it is this very aspect that is the most complex and deserving of deep inquiry, as movement is contextual and understood through the ability to construct identity, feel our identity, and coordinate our experience to express our intentions. We will utilize the literature of embodiment, agency, and phenomenology to create and bolster our language and our conceptual understanding of choice and movement in context of self, culture, race, class, and gender. Simultaneously we will develop our natural and innate capacities for reflective awareness through mindfulness and somatic experiential learning.

 

Required Texts: Agency and Embodiment: Performing Gestures/Producing Culture 2009 by Carrie Noland. Several peer-reviewed articles supplied in class.

 

Credit/Evaluation: Regular and on-time attendance, informed & engaged discussion, and completion of all assignments is expected. A four 3-5 page reading synopsis, mid-term project, and a final collaborative presentation are required.

 

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13854 | 351W Printmaking Narratives

S'eiltin (4 credits)

 

Materials Fee: $32.13

Prereq: Fair 254x or two design or two studio art courses

THIS COURSE MEETS THE UPPER-DIVISION HUMANITIES AND THE EXPRESSIVE ARTS CORE REQUIREMENT.

 

This intermediate printmaking class is designed for students who wish to refine their printmaking skills through the creation of images that represent stories and or themes. The depiction of fiction, fantasies and truths will be realized in a variety of printing methods and techniques from relief linoleum and woodcut prints, reduction prints and dry points. Students will also have the option to refine one printing technique and focus on one story or theme throughout the entire quarter.

 

No Text Requried

 

Credit/Evaluation: The class and instructor will critique prints every two weeks. The final evaluation is based on the student’s completion of all assignments, participation in workshops and critiques and attendance. Students will be encouraged to break creative boundaries, to take risks and to produce technically skilled prints that reflect the development of a personal style and the ability to visually render a story or theme.

 

 

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13847 | 354V Scriptwriting Workshop I

Larner (4 credits)

 

Materials Fee: $5.47

Prereq: previous work or experience with creative writing or instructor permission T

HIS COURSE MEETS THE UPPER-DIVISION HUMANITIES AND THE EXPRESSIVE ARTS CORE REQUIREMENT.

 

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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13838 | 366E Comparative Cultural Studies

Rowe (4 credits)

 

Note: also offered as Amst 301 with a graded format.

THIS COURSE MEETS THE UPPER-DIVISION SOCIETY AND THE INDIVIDUAL CORE REQUIREMENT.

 

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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11594 | 370H Audio Recording II

Fish (4 credits)

 

Materials Fee: $77.21

Prereq: 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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11595 | 370P Intro to Pro Tools

Fish (2 credits)

 

Materials Fee: $43.82

Prereq: 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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11834 | 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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14106 | 374B Cultural Creation of Identity

Montoya-Lewis (4 credits)

 

Prereq: Fair 203a or instructor permission

THIS COURSE MEETS THE UPPER-DIVISION SOCIETY AND THE INDIVIDUAL CORE REQUIREMENT.

 

I'm nobody! Who are you?

Are you nobody, too?

Then there's a pair of us — don't tell!

They'd banish us, you know.

 

How dreary to be somebody!

How public, like a frog

To tell your name the livelong day

To an admiring bog!

--Emily Dickinson

 

How do we know who we are? What names do we give ourselves and what names do others assign to us? The way we identify ourselves privately and the way society identifies us both have significant ramifications on the choices we make and the choices available to us. In this course, we will look at the impact that naming has upon us as individuals and on our society (societies) and culture (cultures), as well and the impact our society and culture has upon how we choose to identify ourselves. Though identity studies often limit the discussion to issues of race and gender, expect to go beyond those limits in this course. We will look critically at the cultural context in which each of us sit; we will also look creatively at our own personal decisions about how we identify ourselves.

 

Texts: After Long Silence by Helen Fremont, Hunger of Memory by Richard Rodriguez, Flight by Sherman Alexie, and The Grace of Silence by Michelle Norris. There may be additional texts. There will be additional, substantial readings provided as handouts.

 

Credit/Evaluation: This course will be evaluated on the basis of attendance (no more than two missed classes), completion of all assignments and quality of written work, class participation in discussions. Lively and informed discussion is the heart of this class. At least three written response papers (3-5 pages) and a longer final project (a paper or other project approved by professor) will be assigned.

 

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14258 | 375H U.S./Mexico Border

Osterhaus (1 credits)

 

This 1 credit class is a required course for those participating in the Arizona/Mexico border field course (397J - 2 credits) during spring break, March 20-29, 2014. Students will be required to meet 5 Tuesdays during the winter quarter (1/14, 1/28, 2/11, 2/25 and 3/4) to discuss an assigned book and various assigned articles and films related to the border experience. Discussion of the materials will provide insight and context to the contentious issues of immigration, racism, homeland security, prisons and US policies that create complex border issues.

 

Course Requirements: Students are required to attend the five 2 hour classes, read the book: The Death of Josseline by Margaret Regan and selected articles, view films and write two reflection papers on their learning from these sources.

 

Recommended: Students will be encouraged to participate in specific classes related to the US/MX border in James Loucky’s Borderlands class. Book: The Devil’s Highway by Luis Alberto Urrea

 

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14097 | 387K Grant Writing Workshop

Coulet du Gard (4 credits)

 

Materials Fee: $6.89

 

This Course focuses on the basics of grant writing, including researching and seeking funding sources; reading and interpreting funding guidelines; developing and refining proposals, and tricks of the trade. Development of individual grant proposal required.

 

Do you think of writing grants as begging for money? Do you have fears around money? This workshop will help you think of grant writing in a different way. Learning to prepare a good proposal allows you to help granting agencies find a way to spend the dollars they are required to spend to meet their own missions, either legislative or for tax related. You need the money. They need to spend it. Your challenge is to find a match between your need and theirs, and to persuasively articulate that match. In this workshop you will learn the basics of writing proposals to funding agencies, including how to find appropriate funding sources, how to read and interpret funding guidelines, funding restrictions, the steps for developing and refining proposals, including the budget. It is highly recommended you have identified a project and an agency before the course begins. See below for possible ideas or contact the instructor.

 

Texts:

1. Mim Carlson, WINNING GRANTS STEP BY STEP, 2008, third ed. (with cd)

2. Cheryl A. Clarke STORYTELLING FOR GRANTSEEKERS 2001 or 2009 edition-either is acceptable.

3. Guide to Writing a Funding Proposal, S. Joseph Levine at

Michigan State University, http://www.learnerassociates.net/proposal/ (only available online - free)

4. Other assigned readings: various web sources and handouts on Canvas (required)

 

Credit/Evaluation: Participants will be expected to develop a completed grant request (LOI) and a full proposal to a foundation or other source of funding by the end of the course. These proposals might be directed toward funding your own work, might be related to the work of an office or college at WWU, or community non-profit agency. Attendance is critical. Evaluation will be based on participation in class exercises on a regular basis, the quality of feedback given in peer reviews, and the quality of the final proposals. I keep a daily log on attendance, participation, and writing.

 

Requirements:

• Attend each class (miss no more than three classes); a forth miss may result in “u” grade

• Be prepared to discuss the assigned readings

• Be prepared to read your writing to other students

• Be prepared with all written assignments, in a professional format (typewritten & printed)

• Participate in class through discussions, assignments and writing with other students

• Complete two proposals by the end of the quarter including:

1. a letter proposal or request- LOI-(2-3 pages) with complete information

2. a full format proposal for major funding (10 pages.)

 

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14118 | 397C Directing for the Camera

Berry (4 credits)

 

In this course we will explore telling a visual story through the elements of mise-en-scène: storyboarding, composition, cinematography, lighting, production design and “the look” of a film. How do we use mise-en-scène to transform a concept from the ideal language of the mind into motion picture and sound on the screen? How do these elements support and enhance each other to deliver the intended message with the maximum rhetorical impact? Early French cinema often divided the duties of the director into two distinct roles: working with actors to develop a performance, and mise-en- scène. The focus of this course, mise-en- scène, explores the director’s visualization of all the elements seen through the lens of the camera. Each influences the other and all must work in concert to communicate effectively. The director has a rich and complex medium with which to create a mood and tell a story. However, a complex medium requires a great deal of careful thought and consideration. A misstep in any aspect of the visualization can, at the very least, disrupt the viewing experience and challenge the willingness of the audience to suspend their disbelief. Taken far enough out of tune, poor mise-en- scène can shut the viewer out of the picture entirely and leave them guessing at what you wished to convey. This course will break down the elements of mise-en-scène for analysis and examination. Examples from professional works will be viewed and discussed, as well as techniques for utilizing each as a component of a unique cinematic vision. The process of creating a sequence of images will be presented and students will try their hand at crafting their own. The layers of production design, lighting and “a look” will be added to that sequence to create a fully developed visualization. After shaping and refining this visualization through peer review and instructor feedback, students will produce their visions as a final project. These collaborative works will be analyzed and critiqued by the students and the instructor. Projects will be judged on the sophistication of their mise-en-scène and the resultant efficacy at communicating an idea, concept or feeling. Although technical execution will certainly have an impact on the quality of the finished work, the student’s individual level of proficiency and experience with filmmmaking will be taken into account during evaluation.

 

Required Text: Schaefer, Dennis, and Larry Salvato. Masters of Light: Conversations with Contemporary Cinematographers. Berkeley: University of California, 1984. Print.

 

Credit/Evaluation: Credit is based upon active participation in class discussions and the timely completion of all studio projects. Participation in all exercises and class discussion is required and essential. Each exercise builds on the next exercise so failure to participate in early projects will likely leave the student unable to finish the course.

 

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14057 | 397F Sustainable Forestry

Tuxill (4 credits)

 

Materials Fee: variable fee

Prereq: Fair 206a or instructor permission

THIS COURSE MEETS THE UPPER-DIVISION SCIENCE CORE REQUIREMENT.

 

Forests provide many benefits for people and society. In recent years, environmental debates in the Pacific Northwest and many other locations worldwide have made clear that the practice of forestry is much more than just the production of timber and wood products. This seminar will ask: what is sustainable forestry? Students will begin by learning about the development of forestry as an applied science in Europe and the United States. We will then examine forest management in a variety of different settings worldwide, including multiple use and ecosystem-based approaches on U.S. national forests, forestry on tribal and private lands, traditional agroforestry systems, and the forest certification movement. In the process, we will ask: what common conditions favor or promote sustainable approaches to forest management? A particular focus will be case studies from our own Northwest region, including guest speakers and field trips. An underlying theme throughout the course will be the critical examination of sustainability itself as a guiding concept in natural resource management.

 

Texts: NORTHWEST TREES by Stephen Arno and Ramona Hammerly. Additional reading assignments will be made available on Canvas.

 

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 and field exercises. Students also will: 1) conduct and write up a forest inventory; 2) carry out additional field labs; and 3) research, present, and write up a case study of sustainable forest management or a related forest value.

 

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14122 | 397G Ecology and Cultures of Mesoamerica

Tuxill(4 credits)

 

Materials Fee: $7.13

THIS COURSE MEETS THE UPPER-DIVISION SCIENCE CORE REQUIREMENT.

 

Mesoamerica—including Mexico and Central America—is a region of bio-cultural superlatives: a global hotspot of biodiversity; a seven-thousand year old center of origin for agriculture; a cradle of over 350 languages, and a contemporary homeland for indigenous cultural traditions and vibrant national societies. This course surveys the ecological and cultural diversity of Mesoamerica from both historical and contemporary perspectives. Among the questions that will guide our investigations are: How have past dynamics of natural resource use by Mesoamerican peoples influenced the present ecological and cultural landscape of the region? How should nature conservation proceed when biologically rich landscapes have been inhabited and managed intensively for over 8,000 years? How is ecological sustainability in Mesoamerica related to the loss of indigenous languages, large-scale emigration of rural populations, and other socio-economic, political and cultural changes? In 2014, this course will meet jointly for some sessions with Fair 312d Issues in International Studies: Central America, and “political ecology” will be a key concept framing both courses. Bey ku ya’ala’al ich Maaya: ko’oten xooke’ex tuláakle’ex! (In Mayan words: Come study, everyone!)

 

Texts: ANIMALS AND PLANTS OF THE ANCIENT MAYA by Victoria Schlesinger. Additional materials will be made available electronically on Canvas.

 

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 research case studies of the biodiversity and political ecology of Mesoamerica, and share their findings via oral class presentations and written assignments (one short paper and a term paper).

 

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14105 | 397S Arts Administration

Coulet du Gard (4 credits)

 

Prereq: Junior status and background in grantwriting or the arts

 

Visual and performing arts management, research, and education methods for the arts. Become confident in making a strong case for the arts, via readings, research, writing and arts projects. For students aspiring to make arts a career or incorporating the arts into their interdisciplinary work. Traditionally the Arts have been underfunded in the US and students often have a difficult time creating strong proposals for arts projects, grants, research initiatives, and more. By studying and understanding the structure and function, management, and funding of nonprofit or for profit arts-related organizations and businesses students will begin to appreciate the multifaceted strengths that the arts offer. This course will also cover arts education mandated and recommended visual and performing arts standards in the US and globally. Finally students will gain and understanding of theory and methods in the arts to help frame their interests, including arts advocacy.

 

Texts: Patricia Leavy METHOD MEETS ART: ARTS-BASED RESEARCH PRACTICE (2008) Arlene Goldbard NEW CREATIVE COMMUNITY: THE ART OF CULTURAL DEVELOPMENT (2006) Meg Brindle and Constance Devereaux THE ARTS MANAGEMENT HANDBOOK: NEW DIRECTIONS FOR STUDENTS AND PRACTITIONERS (2011) Canvas Articles and videos, including TED talks; Washington State Board of Education data; US Visual and Performing Arts standards, and more.

 

Credit/Evaluation: Students must attend regularly (no more than three missed classes allowed); read all materials scheduled for discussions; write 3 reflective essays; 1 research essay; 1 small hands-on arts creation; and a final paper, presentation, or arts project. Students will also be required to attend a fieldtrip to a local museum and for-profit arts business; and be required to attend the guest speaker’s presentation in class relating to arts advocacy.

 

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