Art + Science – Stanford Arts

ANES ANES 72Q The Art of Medical Diagnosis View in Explore Courses Spr 3 no Letter or Credit/No Credit WAY-CE UG The Art of Medical Diagnosis: Enhancing Observational Skills through the Study of Art is an interactive, multidisciplinary undergraduate course that explores various ways in which studying art increases critical observational skills vital for aspiring health care providers. Students will be introduced to the concept of `Visual Thinking Strategies¿ through classroom, art creation, and museum based activities. Students will apply these skills to both works of art and medical cases. Significant focus will be on engaging in group discussions where they will collaboratively use visual evidence to generate and defend hypothesis. Drawing and sketching from life will play a critical role in honing observational skills through weekly assignments, workshops, and a final project. The interactive nature of this course pivots students away from a typical lecture based course to a self-directed learning experience. EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart; ARTINST::interdisguide
ANTHRO ANTHRO 188 Matter and Mattering: Transdisciplinary Thinking about Things (ANTHRO 288, APPPHYS 188, ARCHLGY 188) View in Explore Courses Spr 4-5 no Letter (ABCD/NP) UG Things sit at the nexus of cross-cutting heterogeneous processes; tracing the entanglements of any prominent thing or class of things demands a transdisciplinary approach that recruits expertise from the natural sciences, social sciences and humanities. For example, carbon is a key factor in global warming for reasons that are as much socio-historical as bio-physical, and we could not begin to sketch the full significance of carbon without considering such diverse frames of reference. Our growing appreciation in the social sciences and humanities of the agency, polyvalence and catalytic role of things has given rise to The New Materialist and Post-Humanist movements, which in turn raise questions about intra-action and observational perspective that are echoed in the modern physical and life sciences. In this class we will explore these theoretical convergences in considering themes such as `things-in-themselves¿, networks and open systems, assemblages and entanglements. We will also examine specific examples such as oil, metal (guns), dams, viruses, electricity, mushrooms; each thing will be explored both in terms of its social and ethical entanglements and in terms of its material properties and affordances. There will also be hands-on encounters with objects in labs and a couple of local field trips. The key question throughout will be `why and how does matter matter in society today? ARTINST::ccguide; ARTINST::scienceart
APPPHYS APPPHYS 100 The Questions of Clay: Craft, Creativity and Scientific Process (ARTSINST 100) View in Explore Courses alternate years, given next year 5 no Letter or Credit/No Credit WAY-CE, WAY-SMA UG Students will create individual studio portfolios of ceramic work and pursue technical investigations of clay properties and the firing process using modern scientific equipment. Emphasis on development of creative process; parallels between science and traditional craft; integration of creative expression with scientific method and analysis. Prior ceramics experience desirable but not necessary. Limited enrollment. Prerequisites: any level of background in physics, Instructor permission. EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart
APPPHYS APPPHYS 100Q INDIGO View in Explore Courses Sum 3 no Letter or Credit/No Credit UG Preference to sophomores. Indigo as a plant, biomolecule, dye, ancient craft material, and organic semiconductor; the interest of natural dyes for both biomimetic engineering and indigenous artistic practices. Students will plant and tend an indigo crop, harvest and process indigo leaves for dyestuffs, and dye textiles using an organic vat process. Lectures, readings and discussions will focus on the biochemistry and physics of indigo dye, traditional indigo textile arts, environmental impacts of industrial-scale indigo dyeing of denim, roles of indigo in upcycling, craft-washing, and the aesthetics of indigo in western and non-western cultural frames. ARTINST::scienceart
ARTHIST ARTHIST 164A Technology and the Visual Imagination (ARTHIST 364A, FILMSTUD 164A, FILMSTUD 364A) View in Explore Courses not given this year 4 no Letter or Credit/No Credit GER:DB-Hum, WAY-A-II UG An exploration of the dynamic relationship between technology and the ways we see and represent the world. The course examines technologies from the Renaissance through the present day, from telescopes and microscopes to digital detectors, that have changed and enhanced our visual capabilities as well as shaped how we imagine the world. We also consider how these technologies influenced and inspired the work of artists. Special attention is paid to how different technologies such as linear perspective, photography, cinema, and computer screens translate the visual experience into a representation; the automation of vision; and the intersection of technology with conceptions of time and space. STS::cm-sc; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::scienceart; COMM::elective
ARTHIST ARTHIST 206 The Alchemy of Art: Substance and Transformation in Artistic Practice (ARTHIST 406) View in Explore Courses Win 3 no Letter (ABCD/NP) UG This seminar considers materiality and processes of material transformation as core elements of artistic practice and the history of making, largely from Sumer (3rd Millennium BCE) until the Early Modern period (18th Century in the West), but with several modern comparisons. Major points of focus will include pre-modern perceptions of the elemental properties of materials as matter, the reflexive relationship between materials and imagination, and the diverse ways in which societies have associated specific substances with social and cultural values. Humanistic perspectives on such issues are augmented by complementary insights from the physical sciences, and references are made to current ideas regarding material agency, affordances, and the imperfect separability of nature and culture. Indeed, a central question underlying all the readings is how to distinguish natural from synthetic: where does nature end and art begin, or maybe where does nature stop? ARTINST::scienceart Barry, F. (PI); Mabuchi, H. (PI)
ARTSINST ARTSINST 100B The Questions of Cloth: Weaving, Pattern Complexity and Structures of Fabric (APPPHYS 100B) View in Explore Courses Aut 4 no Letter or Credit/No Credit UG Students will learn to weave on a table loom while examining textile structures from historic, artistic and scientific perspectives. Emphasis on analyzing patterns and structures generated by weaving, with elementary introductions to information-scientific notions of algorithmic complexity, image compression, and source coding. This class is primarily intended for non-STEM majors with little or no prior experience in working with textiles. Limited enrollment. Prerequisites: Instructor permission. ARTINST::scienceart Mabuchi, H. (PI)
ARTSTUDI ARTSTUDI 130 Interactive Art: Making it with Arduino (ARTSTUDI 231A) View in Explore Courses Spr 4 no Letter or Credit/No Credit WAY-CE UG Students use electronics and software to create kinetic and interactive elements in artwork. No prior knowledge of electronics or software is required. Students learn to program the Arduino, a small easy-to-use microprocessor control unit ( see http://www.arduino.cc/ ). Learn to connect various sensors such as light, motion, sound and touch and use them to control software. Learn to interface actuators like motors, lights and solenoids to create movement. Learn to connect the Arduino to theMAX/MSP/Jitter programming environment to create media-intensive video and audio environments. Explore the social dimensions of electronic art. (lower level) SPBK::1; EDUC::alluniversityabove100; EDUC::alluniversity; STS::cm-tech; STS::io-tech; VPUE::cc-ff; ARTINST::scienceart; ARTINST::ccguide; ARTINST::techart; STS::sddi-tech DeMarinis, P. (PI)
ARTSTUDI ARTSTUDI 131 Sound Art I (MUSIC 154A) View in Explore Courses Aut 4 no Letter or Credit/No Credit GER:DB-Hum, WAY-CE UG Acoustic, digital and analog approaches to sound art. Familiarization with techniques of listening, recording, digital processing and production. Required listening and readings in the history and contemporary practice of sound art. (lower level) SPBK::1; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::scienceart; VPUE::cc-ff; ARTINST::interdisguide; ARTINST::ccguide; ARTINST::techart DeMarinis, P. (PI)
ARTSTUDI ARTSTUDI 139 Portraiture and Facial Anatomy for Artists (SURG 241) View in Explore Courses Win 4 no Medical Option (Med-Ltr-CR/NC) WAY-CE UG Focus is on the art of portraiture and underlying structures of the face, fundamental anatomical elements such as the skull and muscles of facial expressions, and the intersections between human anatomy and art. Studio sessions incorporate plastic models, dry bones, cadaveric specimens, and live models. Encourages use of proper anatomical terminology for describing structures and their relationships. EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::scienceart; ARTINST::ccguide; ARTINST::interdisguide
ARTSTUDI ARTSTUDI 148P The Hybrid Print (ARTSTUDI 248P) View in Explore Courses Aut 4 no Letter or Credit/No Credit WAY-CE UG This class explores experimental printmaking methods where digital and traditional practices collide. It focuses on the interchange between conventional and new methods of printmaking, and possibilities for the print beyond paper and the flat picture plane in contemporary art. Techniques will be demonstrated in class, and students will pursue projects using these techniques, developing their own conceptual interests. We will explore digital processes using large format printers, as well as digitally augmented traditional printmaking methods such as monoprints, collographs, woodblock and linocut, aided by dye sublimation, vinyl cutting, and 3-d printing. Students will have access to a wide array of both digital and traditional tools, and will develop projects using a combination of methods, resulting in a body of work. Discussions will address the expansive nature of contemporary fine art printmaking. EDUC::alluniversityabove100; EDUC::alluniversity; VPUE::cc-ff; ARTINST::scienceart; ARTINST::ccguide; ARTINST::techart; ENGLISH::dh-minor; STS::io-tech
ARTSTUDI ARTSTUDI 162 Embodied Interfaces View in Explore Courses Aut 4 no Letter or Credit/No Credit WAY-A-II, WAY-CE UG Our computers, phones and devices see us predominantly as fingers and eyes staring at screens. What would happen if our technology acknowledged more of our rich physical presence and capabilities in its design? How have artists and designers used different sensing technologies to account for more of our embodied selves in their works? In this studio course we explore various sensing technologies and design artworks that engage our whole selves. Interfaces explored range from the practical to the poetic. Sensors may involve flex sensors, heat sensors, microphones and simple camera tracking technology. We analyze different tools for their appropriateness for different tasks and extend them through our designs. EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart; VPUE::cc-ff; ARTINST::techart Ulfeldt, A. (PI)
ARTSTUDI ARTSTUDI 163 Drawing with Code (ARTSINST 142) View in Explore Courses Win 4 no Letter or Credit/No Credit WAY-CE UG This studio course will engage coding practices as drawing tools. What makes a good algorithmic composition? How do we craft rule-sets and parameters to shape an interesting work? What changes if we conceive of still outputs, ongoing processes, or interactive processes as the “finished” work? We will look at the history of algorithmic drawing, including analog precedents like Sol LeWitt and other conceptual artists, along with current pioneers like John Simon Jr., Casey Reas, and LIA. Outputs will involve prints as well as screen-based works. Some basic coding experience is helpful, but not required. Assignments are based on conceptual principals that students can engage with at different coding skill levels. This is a good way for non CS students to explore coding practices as well as for CS students to hone their skills. We will work primarily in the free Processing software for our explorations. EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart; ARTINST::interdisguide; VPUE::cc-ff; ARTINST::techart Utterback, C. (PI)
ARTSTUDI ARTSTUDI 168 Data as Material View in Explore Courses Aut, Spr 4 no Letter or Credit/No Credit WAY-CE UG How can data be used as material in art and design projects? Beyond straight-forward ideas of data-visualization, this studio course investigates how we construct meaning from sets of information, and how the construction of those sets determines the meaning itself. This course also investigates different display aesthetics and how this is also a strategy for generating meaning. Artists studied include those who use various forms of personal, public, and social data as part of their practice. Historical examples from conceptual artists and other genres are considered along with contemporary artists working with data in digital or hybrid digital/physical formats. EDUC::alluniversityabove100; EDUC::alluniversity; STS::cm-tech; STS::io-tech; ARTINST::ccguide; ARTINST::scienceart; VPUE::cc-ff; ENGLISH::dh-minor; STS::sddi-tech Ulfeldt, A. (PI)
ARTSTUDI ARTSTUDI 173E Cell Phone Photography View in Explore Courses Aut, Win, Spr 4 no Letter or Credit/No Credit WAY-CE UG The course combines the critical analysis of cell phone photography with the creation of photographic art works that explore this specific medium’s experimental, social and documentary potential. The increasing ubiquity of cell phone photography has had a widespread impact on the practice of photography as an art form. We will consider and discuss the ways in which the platforms of cell phone photography (Instagram, Snapchat) are democratizing image-making and transforming notions of authorship and subjectivity to an unprecedented extent, but also how the use of new technological tools help expand notions of creativity and aesthetic standards. STS::cm-sc; VPUE::cc-ff; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart; ARTINST::techart; STS::sddi-found; STS::cm-tech; STS::sddi-tech Peck, S. (PI)
ARTSTUDI ARTSTUDI 176 Time Shifts View in Explore Courses not given this year 4 no Letter or Credit/No Credit UG In this course, we examine how both individual perceptions and artistic representations of time have historically shifted with changes in technology. What are the current possibilities to extend/re-imagine how we represent time using digital tools? How do these possibilities, in turn, re-inform traditional media? This is a conceptual and experimental class with a studio focus. Examples are mainly from an art context, but include interaction design, information visualization, and scientific illustration of time-based events and processes. Students should have previous experience with a set of digital tools – Photoshop, FinalCutPro, AfterEffects, or a programming language that will allow you to digitally manipulate images. Assignments include exercises using traditional media, and digitally based projects. Occasional writing assignments also required. EDUC::alluniversityabove100; EDUC::alluniversity; STS::cm-tech; ARTINST::scienceart
ARTSTUDI ARTSTUDI 178 Art and Electronics View in Explore Courses Win, Spr 4 no Letter or Credit/No Credit WAY-CE UG Analog electronics and their use in art. Basic circuits for creating mobile, illuminated, and responsive works of art. Topics: soldering; construction of basic circuits; elementary electronics theory; and contemporary electronic art. (lower level) EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart; VPUE::cc-ff; ARTINST::techart Ulfeldt, A. (PI)
ARTSTUDI ARTSTUDI 243 Anatomy for Artists (SURG 243) View in Explore Courses Spr 3 no Medical Option (Med-Ltr-CR/NC) GR Lectures highlight the intersections and influences between human anatomy and art. Studio sessions provide an opportunity for students to immerse in anatomically inspired studio projects. Drawing, mixed media, and some painting mediums will be used during the studio sessions. Plastic models, dry bones, cadaveric specimens, and live models will be used for the studio sessions. Class time includes art instruction, creation and feedback. May be repeated for credit. Honing individual style is encouraged; both beginning and advanced students are welcome. ARTINST::ccguide; ARTINST::scienceart; ARTINST::interdisguide
ARTSTUDI ARTSTUDI 254 Kinetic Sculpture View in Explore Courses Aut 3-4 yes Letter or Credit/No Credit WAY-CE UG This course is focused on developing a practical, hands on understanding of kinetic mechanisms applied to objects and materials in sculpture and installation. Class time will take the form of lectures and technical demos, and hands-on labs where you will be exposed to different strategies for making movement in the physical world. Topics investigated include Rube Goldberg machines, devices of wonder, interactivity, audience experience and participation. EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart
ARTSTUDI ARTSTUDI 284 Art and Biology View in Explore Courses not given this year 4 no Letter or Credit/No Credit UG The relationship between biology and art. Rather than how art has assisted the biological sciences as in medical illustration, focus is on how biology has influenced art making practice. New technologies and experimental directions, historical shifts in artists’ relationship to the living world, the effects of research methods on the development of theory, and changing conceptions of biology and life. Projects address these themes and others that emerge from class discussions and presentations. (upper level) STS::lsh-sc; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart
BIO BIO 3N Views of a Changing Sea: Literature & Science View in Explore Courses Spr 3 no Letter or Credit/No Credit GER: DB-NatSci UG The state of a changing world ocean, particularly in the eastern Pacific, will be examined through historical and contemporary fiction, non-fiction and scientific publications. Issues will include harvest and mariculture fisheries, land-sea interactions and oceanic climate change in both surface and deep waters. EARTHSYS::enviro; VPUE::cc-ff; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart; BIO::hms; ARTINST::interdisguide Gilly, W. (PI)
BIO BIO 7N Conservation Photography View in Explore Courses Win 3 no Letter or Credit/No Credit WAY-CE UG Introduction to the field of conservation photography and the strategic use of visual communication in addressing issues concerning the environment and conservation. Students will be introduced to basic digital photography, digital image processing, and the theory and application of photographic techniques. Case studies of conservation issues will be examined through photographs and multimedia platforms including images, video, and audio. Lectures, tutorials, demonstrations, and optional field trips will culminate in the production of individual and group projects. EARTHSYS::enviro; SPBK::3; REGISTRAR::ways-ce; VPUE::cc-ff; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart; ARTINST::interdisguide; CARDCOURSES::env; CARDCOURSES::arts; CARDCOURSES::science McConnell, S. (PI)
BIO BIO 24N Visions of Paradise: Garden Design View in Explore Courses Spr 3 no Letter or Credit/No Credit UG Through literature readings and field trips to local gardens learn the principles and esthetics of classic garden designs: Italian Renaissance, botanical teaching, Japanese, English cottage, and others. Design a personal vision of paradise with details of species, visual and scent impact, water features, and hardscape. Open your eyes to a new appreciation of the world of plants and learn some physiology and genetics that explains the specific properties of individual species. VPUE::cc-ff; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart Walbot, V. (PI)
BIO BIO 196A Biology Senior Reflection View in Explore Courses Aut 3 yes Letter (ABCD/NP) UG Capstone course series for seniors. Creative, self-reflective and scientifically relevant projects conceived, produced and exhibited over the course of three quarters. Explore scientific content of personal interest through creative forms including but not limited to writing, music, fine arts, performing arts, photography, film or new media. A written essay on the creative process and scientific significance of the selected topic will accompany the creative work. Completed projects may be included in a creative portfolio. Required enrollment in 196A,B,C. Satisfies WIM in Biology. May be repeat for credit EARTHSYS::enviro; SPBK::3; WIM::bio; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart McConnell, S. (PI); Todhunter, A. (PI)
BIO BIO 196B Biology Senior Reflection View in Explore Courses Win 3 yes Letter (ABCD/NP) WAY-CE UG Capstone course series for seniors. Creative, self-reflective and scientifically relevant projects conceived, produced and exhibited over the course of three quarters. Explore scientific content of personal interest through creative forms including but not limited to writing, music, fine arts, performing arts, photography, film or new media. A written essay on the creative process and scientific significance of the selected topic will accompany the creative work. Completed projects may be included in a creative portfolio. Required enrollment in 196A,B,C. May be repeat for credit. EARTHSYS::enviro; SPBK::3; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart McConnell, S. (PI); Todhunter, A. (PI)
BIO BIO 196C Biology Senior Reflection View in Explore Courses Spr 3 yes Letter (ABCD/NP) WAY-CE UG Capstone course series for seniors. Creative, self-reflective and scientifically relevant projects conceived, produced and exhibited over the course of three quarters. Explore scientific content of personal interest through creative forms including but not limited to writing, music, fine arts, performing arts, photography, film or new media. A written essay on the creative process and scientific significance of the selected topic will accompany the creative work. Completed projects may be included in a creative portfolio. Required enrollment in 196A,B,C. May be repeat for credit EARTHSYS::enviro; SPBK::3; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart McConnell, S. (PI); Todhunter, A. (PI)
BIOE BIOE 32Q Bon Appétit, Marie Curie! The Science Behind Haute Cuisine View in Explore Courses Spr 3 no Letter or Credit/No Credit UG This seminar is for anyone who loves food, cooking or science! We will focus on the science and biology behind the techniques and the taste buds. Not a single lecture will pass by without a delicious opportunity – each weekly meeting will include not only lecture, but also a lab demonstration and a chance to prepare classic dishes that illustrate that day’s scientific concepts. EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart Covert, M. (PI)
BIOHOPK BIOHOPK 157H Creative Writing & Science: The Artful Interpreter (BIOHOPK 257H, ENGLISH 157H) View in Explore Courses Spr 5 no Letter or Credit/No Credit WAY-A-II, WAY-CE UG What role does creativity play in the life of a scientist? How has science inspired great literature? How do you write accessibly and expressively about things like whales, DNA or cancer? This course begins with a field trip to Hopkins Marine Station where Stanford labs buzz with activity alongside barking seals and crashing waves. The trip provides a unique opportunity for students to directly engage with marine animals, coastal habitats and environmental concerns of Monterey Bay. As historian Jill Lepore writes of Rachel Carson: ¿She could not have written Silent Spring if she hadn¿t, for decades, scrambled down rocks, rolled up her pant legs, and waded into tide pools, thinking about how one thing can change another…¿ Back on campus students will complete and workshop three original nonfiction essays that explore the intersection between personal narrative and scientific curiosity. You will develop a more patient and observant eye and improve your ability to articulate scientific concepts to a general readership. **This course takes place on main campus and is open to all students. nNOTE: Students must attend the first class meeting to retain their roster spot. ARTINST::ccguide; ARTINST::scienceart
BIOHOPK BIOHOPK 257H Creative Writing & Science: The Artful Interpreter (BIOHOPK 157H, ENGLISH 157H) View in Explore Courses Spr 5 no Letter or Credit/No Credit GR What role does creativity play in the life of a scientist? How has science inspired great literature? How do you write accessibly and expressively about things like whales, DNA or cancer? This course begins with a field trip to Hopkins Marine Station where Stanford labs buzz with activity alongside barking seals and crashing waves. The trip provides a unique opportunity for students to directly engage with marine animals, coastal habitats and environmental concerns of Monterey Bay. As historian Jill Lepore writes of Rachel Carson: ¿She could not have written Silent Spring if she hadn¿t, for decades, scrambled down rocks, rolled up her pant legs, and waded into tide pools, thinking about how one thing can change another…¿ Back on campus students will complete and workshop three original nonfiction essays that explore the intersection between personal narrative and scientific curiosity. You will develop a more patient and observant eye and improve your ability to articulate scientific concepts to a general readership. **This course takes place on main campus and is open to all students. nNOTE: Students must attend the first class meeting to retain their roster spot. ARTINST::ccguide; ARTINST::scienceart
CEE CEE 32F Light, Color, and Space View in Explore Courses not given this year 3 no Letter or Credit/No Credit UG This course explores color and light as a medium for spatial perception. Through the introduction of color theory, color mixing, and light analyses, students will learn to see and use light and color fields as a way to shape experience. We will examine the work of a range of architects and artist who use light and color to expand the field of perception (i.e. Rothko, Turrell, Eliasson, Holl, Aalto). EDUC::alluniversity; ARTINST::ccguide; VPUE::cc-ff; ARTINST::scienceart
CHEMENG CHEMENG 12SC An Exploration of Art Materials: The Intersection of Art and Science View in Explore Courses not given this year 2 no Letter (ABCD/NP) WAY-CE UG There is growing interest in the intersection of art and science, whether from artists adapting technology to suit their visions or from scientists and engineers seeking to explain various visual effects. To take advantage of possible creative sparks at the art/science interface, it is necessary for fuzzies and techies to have some knowledge of the language used by the other side. This interface will be explored through examining approaches used by an artist and an engineer in the context of the materials science of cultural objects. In-class lectures, hands-on studio practice, and field trips will be used to illustrate these different perspectives. At the heart of the scientific approach is the notion that a cultural object, e.g., a painting, is a physical entity comprising materials with different physical properties and different responses to environmental stresses presented by light, heat, and water. In support of this outlook, in-class lectures and discussions will focus on the basic concepts of color, optics, mechanics, composite structures, and response of the object to environmental stress, and we will visit Bay Area museums to see how artists employ such techniques. The hands-on studio experience is designed to increase students’ confidence and develop their appreciation of differences in materials. It is not necessary to have any artistic training, only a willingness to experiment. The in-class studio projects will include working with line and shadow; color, binders, and mordants; global sources of pigments; substrates and writing; and material failure. Students will make one technical presentation on a topic in one of the five areas relevant to a painting: color, optics, mechanics, composites, and stress response. In addition, they will prepare one essay on the issues surrounding the intersection of art and science. Finally, they will complete a project related to one of the thematic areas covered in the hands-on studio sessions and make a final oral presentation describing their project. EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart
CHEMENG CHEMENG 80Q Art, Chemistry, and Madness: The Science of Art Materials View in Explore Courses not given this year 3 no Letter (ABCD/NP) GER:DB-EngrAppSci, WAY-SMA UG Preference to sophomores. Chemistry of natural and synthetic pigments in five historical palettes: earth (paleolithic), classical (Egyptian, Greco-Roman), medieval European (Middle Ages), Renaissance (old masters), and synthetic (contemporary). Composite nature of paints using scanning electron microscopy images; analytical techniques used in art conservation, restoration, and determination of provenance; and inherent health hazards. Paintings as mechanical structures. Hands-on laboratory includes stretching canvas, applying gesso grounds, grinding pigments, preparing egg tempera paint, bamboo and quill pens, gilding and illumination, and papermaking. SPBK::3; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart
CLASSICS CLASSICS 168 Engineering the Roman Empire (ARCHLGY 118) View in Explore Courses Spr 3-5 no Letter (ABCD/NP) GER:DB-Hum, WAY-A-II UG Enter the mind, the drafting room, and the building site of the Roman architects and engineers whose monumental projects impressed ancient and modern spectators alike. This class explores the interrelated aesthetics and mechanics of construction that led to one of the most extensive building programs undertaken by a pre-modern state. Through case studies ranging from columns, domes and obelisks to road networks, machines and landscape modification, we investigate the materials, methods, and knowledge behind Roman innovation, and the role of designed space in communicating imperial identity. EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::scienceart; ARTINST::ccguide; ARTINST::techart Leidwanger, J. (PI); Mallon, K. (SI); Previto, M. (TA)
COMM COMM 166 Virtual People (COMM 266) View in Explore Courses Sum 4-5 no Letter (ABCD/NP) WAY-SI UG (Graduate students register for COMM 266.) The concept of virtual people or digital human representations; methods of constructing and using virtual people; methodological approaches to interactions with and among virtual people; and current applications. Viewpoints including popular culture, literature, film, engineering, behavioral science, computer science, and communication. SYMSYS::hci-social; VPUE::cc-ff; COMM::Area1; ENVRINST::af_faculty; STS::cm-sc; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart; ENGLISH::dh-minor; STS::sddi-sc Bailenson, J. (PI)
DLCL DLCL 226 Programming and Poetry View in Explore Courses not given this year 2-4 no Letter or Credit/No Credit UG How can we study computer code as literature? What can poetry teach us about programming and vice versa? These types of questions drive this course, which has two different tracks: one for computer science students and one for literature students. The focus is on the development of a shared conceptual middle ground at which these two tracks can meet. Topics include critical code studies, code poetry, and cognition. Authors include Elizabeth Bishop, Ada Lovelace, Hayden Carruth, and Donald Knuth. ARTINST::ccguide; ARTINST::scienceart
EARTHSYS EARTHSYS 135 Podcasting the Anthropocene (EARTHSYS 235) View in Explore Courses not given next year 3 yes Letter or Credit/No Credit UG The Anthropocene refers to the proposed geologic age defined by the global footprint of humankind. It’s an acknowledgement of the tremendous influence people and societies exert on Earth systems. Students taking the course will identify a subject expert, workshop story ideas with fellow students and instructors, conduct interviews, iteratively write audio scripts, and learn the skills necessary to produce final audio podcast as their final project. Our expectation is that the final projects will be published on the award-winning Generation Anthropocene podcast, with possible opportunities to cross post in collaboration with external media partners. Students taking EARTHSYS 135/235 are strongly encouraged to take EARTHSYS 135A/235A beforehand. Meets Earth Systems WIM requirement. (Cardinal Course certified by the Haas Center). EARTHSYS::enviro; CARDCOURSES::env; EDUC::alluniversityabove100; EDUC::alluniversity; WIM::earthsys; ARTINST::ccguide; COMM::elective; ARTINST::scienceart; VPUE::cc-ff
EARTHSYS EARTHSYS 135A Podcasting the Anthropocene 1.0 View in Explore Courses not given this year 1-2 no Satisfactory/No Credit UG The Anthropocene refers to the proposed geologic age defined by the global footprint of humankind. It’s an acknowledgement of the tremendous influence people and societies exert on Earth systems. In this course, students research, prepare, and conduct audio interviews related to the Anthropocene with experts of their choosing. Instructors will help facilitate interviews and prepare student for the experience. Throughout the quarter students will participate in group workshops. This is a project-based course resulting in two long-form interviews. The expectation at the end of the quarter is to publish interviews via the Generation Anthropocene podcast, with possible opportunities to cross post in collaboration with external media partners. Students hoping to take EarthSys 135/235 during winter quarter are strongly encouraged to enroll in EarthSys 135A/235A. (Cardinal Course certified by the Haas Center). EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::scienceart; CARDCOURSES::env; EARTHSYS::enviro
EARTHSYS EARTHSYS 149 Wild Writing (EARTHSYS 249) View in Explore Courses Spr 3 no Letter (ABCD/NP) WAY-CE UG What is wilderness and why does it matter? In this course we will interrogate answers to this question articulated by influential and diverse American environmental thinkers of the 19th, 20th, and 21st centuries, who through their writing transformed public perceptions of wilderness and inspired such actions as the founding of the National Park System, the passage of the Wilderness Act and the Clean Air and Water Acts, the establishment of the Environmental Protection Agency, and the birth of the environmental and climate justice movements. Students will also develop their own responses to the question of what is wilderness and why it matters through a series of writing exercises that integrate personal narrative, wilderness experience, and environmental scholarship, culminating in a ~3000 word narrative nonfiction essay. This course will provide students with knowledge, tools, experience, and skills that will empower them to become more persuasive environmental storytellers and advocates.nnIf you are interested in signing up for the course, complete this pre-registration form https://stanforduniversity.qualtrics.com/jfe/form/SV_9XqZeZs036WIvop EDUC::alluniversityabove100; EDUC::alluniversity; WIM::earthsys; ARTINST::ccguide; COMM::elective; ARTINST::scienceart; EARTHSYS::enviro; STS::ne-sc Nevle, R. (PI); Polk, E. (PI); Chael, N. (TA); Hoffer, A. (TA)
EARTHSYS EARTHSYS 177C Specialized Writing and Reporting: Health and Science Journalism (COMM 177C, COMM 277C, EARTHSYS 277C) View in Explore Courses Win 4-5 no Letter or Credit/No Credit UG Practical, collaborative, writing-intensive advanced journalistic reporting and writing course in the specific practices and standards of health and science journalism. Science and journalism students learn how to identify and write engaging stories about medicine, global health, science, and related environmental issues; how to assess the quality and relevance of science news; how to cover the health and science beats effectively and efficiently; and how to build bridges between the worlds of journalism and science. Instructed Winter Quarter 2019 by Dr. Seema Yasmin, http://www.seemayasmin.com. nnnLimited enrollment: preference to students enrolled in or considering the Earth Systems Master of Arts, Environmental Communication Program and the Graduate Journalism Program. Prerequisite: EarthSys 191/291, COMM 104w, or consent of instructor. Admission by application only, available from dr.yasmin@stanford.edu (Meets Earth Systems WIM requirement.) VPGE::Communication; EARTHSYS::enviro; EDUC::alluniversityabove100; EDUC::alluniversity; WIM::earthsys; ARTINST::ccguide; ARTINST::scienceart; STS::cm-sc; STS::core-se-wim; STS::core-se; SUST::elective; STS::crs-sc Yasmin, S. (PI)
EMED EMED 228 Virtual Reality Storytelling (EMED 129) View in Explore Courses not given this year 1-3 yes Medical Option (Med-Ltr-CR/NC) GR Do you have a story to tell? Would you like to make an impact on medicine through the most immersive medium available? Virtual reality filmmaking is a cutting edge means of shaping the public’s perception of and relationship to healthcare, with enormous potential to act as a vehicle for change. This course will describe and practice the entire virtual reality filmmaking process from preproduction and production through to postproduction completion. Step by step you will learn to tell stories that matter in this immersive medium using both 360 video and computer generated simulations. You will be part of the design team for an exhibited interactive experience with a meaningful story. No prior virtual reality or filmmaking experience required. ARTINST::scienceart; ARTINST::techart
ENGLISH ENGLISH 157H Creative Writing & Science: The Artful Interpreter (BIOHOPK 157H, BIOHOPK 257H) View in Explore Courses Spr 5 no Letter or Credit/No Credit WAY-A-II, WAY-CE UG What role does creativity play in the life of a scientist? How has science inspired great literature? How do you write accessibly and expressively about things like whales, DNA or cancer? This course begins with a field trip to Hopkins Marine Station where Stanford labs buzz with activity alongside barking seals and crashing waves. The trip provides a unique opportunity for students to directly engage with marine animals, coastal habitats and environmental concerns of Monterey Bay. As historian Jill Lepore writes of Rachel Carson: ¿She could not have written Silent Spring if she hadn¿t, for decades, scrambled down rocks, rolled up her pant legs, and waded into tide pools, thinking about how one thing can change another…¿ Back on campus students will complete and workshop three original nonfiction essays that explore the intersection between personal narrative and scientific curiosity. You will develop a more patient and observant eye and improve your ability to articulate scientific concepts to a general readership. **This course takes place on main campus and is open to all students. nNOTE: Students must attend the first class meeting to retain their roster spot. ARTINST::ccguide; ARTINST::scienceart
ENGLISH ENGLISH 184E Literary Text Mining View in Explore Courses Win 5 no Letter (ABCD/NP) GER:DB-Hum, WAY-AQR UG This course will train students in applied methods for computationally analyzing texts for humanities research. The skills students will gain will include basic programming for textual analysis, applied statistical evaluation of results and the ability to present these results within a formal research paper or presentation. Students in the course will also learn the prerequisite steps of such an analysis including corpus selection and cleaning, metadata collection, and selecting and creating an appropriate visualization for the results. EDUC::alluniversityabove100; EDUC::alluniversity; CSRE::methodology; ARTINST::scienceart; STATS::ds_minor_methodology; ENGLISH::dh-minor; STS::cm-tech; STS::sddi-tech Warner, M. (PI)
ENGLISH ENGLISH 185A Literature and Medicine View in Explore Courses not given this year 5 no Letter or Credit/No Credit WAY-A-II UG Virginia Woolf once wrote, “The merest schoolgirl when she falls in love has Shakespeare or Keats to speak her mind for her, but let a sufferer try to describe a pain in his head to a doctor and language at once runs dry.¿ Problems of representation are at the heart of the experiences of physical suffering and medical care; how has literature defined and redefined its relationship to these experiences? Topics include medical and literary interpretation, illness and metaphor, and the evolution of the surface-depth model of the self. The course centers on major works of literature that engage the imaginative potential of medicine and the narrative structures of disease, by authors including Jane Austen, Leo Tolstoy, and Arthur Conan Doyle, read alongside paintings (Rembrandt’s The Anatomy Lesson of Dr. Nicolaes Tulp), film (Ingmar Bergman’s Cries and Whispers), medical descriptions of disease, diagnostic tools, and theory (e.g., Sontag’s Illness as Metaphor). EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::scienceart; ARTINST::ccguide
FILMSTUD FILMSTUD 264B Starstuff: Space and the American Imagination (AMSTUD 143X, ARTHIST 264B) View in Explore Courses Aut 5 no Letter or Credit/No Credit WAY-A-II UG Course on the history of twentieth and twenty-first century American images of space and how they shape conceptions of the universe. Covers representations made by scientists and artists, as well as scientific fiction films, TV, and other forms of popular visual culture. Topics will include the importance of aesthetics to understandings of the cosmos; the influence of media and technology on representations; the social, political, and historical context of the images; and the ways representations of space influence notions of American national identity and of cosmic citizenship. EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; COMM::elective; ARTINST::ccguide; ARTINST::techart; ARTINST::scienceart Kessler, E. (PI)
HISTORY HISTORY 31 Leonardo’s World: Science, Technology, and Art in the Renaissance View in Explore Courses not given this year 3-5 no Letter (ABCD/NP) GER:DB-Hum UG What did Leonardo actually know? How did he acquire that knowledge? Explores Leonardo’s interests and accomplishments in such fields as painting, architecture, engineering, physics, mathematics, geology, anatomy, and physiology, and more generally the nature of Renaissance science, art, and technology. Considers the nrelationship between the society of fifteenth century Italy and the work of the man nfrom Vinci: why did this world produce a Leonardo? How might we use him to understand creativity, innovation, and invention in the Renaissance and beyond? What was his legacy and how did he become a myth? Designed both for students interested in the history of science, medicine, and technology and for students interested in the history and art of Renaissance Italy. SPBK::1; URBANST::comphist; URBANST::urbelect; HISTORY::field4; HISTORY::hla; HISTORY::hsm; HISTORY::field3; SGS::european; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart
INDE INDE 211 Creative Writing View in Explore Courses Win 1 yes Medical Satisfactory/No Credit MED For medical students – all levels of writing skill. Examines uses of creative writing, including understanding the experience of medical training. May be repeated for credit. EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::scienceart Braitman, L. (PI)
INDE INDE 212 Medical Humanities and the Arts View in Explore Courses Spr 2 no Medical Satisfactory/No Credit GR The interdisciplinary field of medical humanities: the use of the arts and humanities to examine medicine in personal, social, and cultural contexts. Topics include the doctor/patient relationship, the patient perspective, the meaning of doctoring, and the meaning of illness. Sources include visual and performing arts, film, and literary genres such as poetry, fiction, and scholarly writing. Designed for medical students in the Biomedical Ethics and Medical Humanities Scholarly Concentration, but all students are welcome. BMI::ethics; VPGE::Interdisciplinary; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::scienceart Shafer, A. (PI)
INDE INDE 273 Medical Improvisation View in Explore Courses not given this year 1 no Medical School MD Grades GR Medicine, like theater, is both a skill set and an art form. The practice of medicine demands exceptional communicative, cognitive, and interpersonal skills in order to respond to unpredictable situations while interacting with a wide variety of individuals. Improvisational theater skills have a surprising and substantial overlap with those required of clinicians. Improv is a genre of performance art grounded in principles of spontaneity, adaptability, collaboration, and skilled listening. In this course, the principles and training techniques of improvisational theater are used to highlight and improve awareness, communication, and teamwork in the field of medicine. Limited enrollment. Class meets on five consecutive Mondays 9/30, 10/7, 10/14, 10/21, 10/28 from 5:30-7:30 pm. ARTINST::scienceart; VPGE::Interdisciplinary; VPGE::Communication
ITALIAN ITALIAN 75N Narrative Medicine and Near-Death Experiences (FRENCH 75N) View in Explore Courses not given this year 3 no Letter or Credit/No Credit WAY-A-II, WAY-SI UG Even if many of us don’t fully believe in an afterlife, we remain fascinated by visions of it. This course focuses on Near-Death Experiences and the stories around them, investigating them from the many perspectives pertinent to the growing field of narrative medicine: medical, neurological, cognitive, psychological, sociological, literary, and filmic. The goal is not to understand whether the stories are veridical but what they do for us, as individuals, and as a culture, and in particular how they seek to reshape the patient-doctor relationship. Materials will span the 20th century and come into the present. Taught in English. EDUC::alluniversity; ARTINST::scienceart
MED MED 201 Internal Medicine: Body as Text View in Explore Courses Aut 1 no Medical School MD Grades GR Body as Text refers to the idea that every patient’s body tells a story. The narrative includes the past and present of a person’s social and medical condition; it is a demonstration of the phenotype. The art of reading the body as text was at its peak in the first half of the 20th century, but as technology has become ascendant, bedside skills and the ability to read the text have faded. Beyond scientific knowledge and medical facts, it is this often forgotten craft which is at the heart of the excitement of being an internist. This course introduces students to the art of the clinical exam, to developing a clinical eye, and learning to see the body in a completely different way. Enrollment will be based on a lottery system, for which details will be sent to first year students at the end of mini quarter. ARTINST::scienceart; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity Hosamani, P. (PI); Verghese, A. (PI); You, J. (TA)
MI MI 70Q Photographing Nature View in Explore Courses Aut 3 no Letter or Credit/No Credit WAY-CE UG Utilizes the idiom of photography to learn about nature, enhance observation, and explore scientific concepts. Builds upon the pioneering photographic work of Eadweard J. Muybridge on human and animal locomotion. A secondary goal is to learn the grammar, syntax, composition, and style of nature photography to enhance the use of this medium as a form of scientific communication and also to explore the themes of change across time and space. Scientific themes to be explored include: taxonomy, habitat preservation, climate change; species diversity; survival and reproductive strategies; ecological niches and coevolution, carrying capacity and sustainability, population densities, predation, and predator-prey relationships, open-space management, the physics of photography. Extensive use of field trips and class critque. EARTHSYS::enviro; EDUC::alluniversity; ARTINST::scienceart; ARTINST::ccguide; ARTINST::interdisguide Siegel, R. (PI)
MUSIC MUSIC 10AX Science of Sound View in Explore Courses not given this year 2 no Satisfactory/No Credit WAY-CE UG Science of Sound will explore sound and sound-related technology from the perspectives of mathematics, physics, and acoustics. Scientists and engineers will have a chance to apply their technical knowledge to the field of music while musicians will learn how sound behaves physically and how it can be recorded, processed, and reproduced. Using the newly opened Bing Concert Hall as a focal point, we will study the science of sound recording, room acoustics, and multi-channel mixing and playback. Students will use what they learn to create short multi-channel compositions using special techniques to place sounds spatially. These pieces will be performed during the annual outdoor Summer CCRMA Transitions concert and again during the Fall 2014 CCRMA concert at Bing Concert Hall. We will use the textbook by Jay Kadis entitled Science of Sound Recording as our primary text and incorporate plenty of hands-on experience with sound equipment and electronics. EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart; ARTINST::interdisguide; MUSIC::UGMST
MUSIC MUSIC 250A Physical Interaction Design for Music View in Explore Courses Spr 3-4 yes Letter or Credit/No Credit GR This lab and project-based course explores how we can physically interact with real-time electronic sound. Students learn to use and design sensors, circuits, embedded computers, communication protocols and sound synthesis. Advanced topics include real-time media, haptics, sound synthesis using physical model analogs, and human-computer interaction theory and practice. Course culminates in musical performance with or exhibition of completed design projects. An $80 lab fee will be added to your bill upon enrollment in this course. See https://ccrma.stanford.edu/courses/250a MUSIC::CCRMAOnly; MUSIC::UGMST; SPBK::3; SYMSYS::computer_music; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::scienceart; ARTINST::ccguide; ARTINST::techart; SYMSYS::cm-design Michon, R. (PI); McCausland, D. (TA)
MUSIC MUSIC 251 Psychophysics and Music Cognition View in Explore Courses Aut, Win 1-5 no Letter or Credit/No Credit UG Lecture, lab and experiment-based course in perception, psychoacoustics, cognition, and neuroscience of music. (WIM at 4 or 5 units only.) ARTINST::scienceart; MUSIC::CCRMAOnly; MUSIC::GRMAMST; MUSIC::UGMST; MUSIC::UGwim; SPBK::2; SYMSYS::cogsci; SYMSYS::computer_music; WIM::music; MUSIC::GRCBMTA; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; HUMBIO::brbh; ARTINST::interdisguide; SYMSYS::cm-mind; SYMSYS::cs-perception Fujioka, T. (PI); Kim, K. (TA); Nerness, B. (TA)
MUSIC MUSIC 256A Music, Computing, Design: The Art of Design (CS 476A) View in Explore Courses Aut 3-4 no Letter (ABCD/NP) GR Creative design for computer music software. Programming, audiovisual design, as well as software design for musical tools, instruments, toys, and games. Provides paradigms and strategies for designing and building music software, with emphases on interactive systems, aesthetics, and artful product design. Course work includes several programming assignments and a “design+implement” final project. Prerequisite: experience in C/C++ and/or Java.See https://ccrma.stanford.edu/courses/256a/ MUSIC::CCRMAOnly; MUSIC::GRMAMST; SPBK::3; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::scienceart; ARTINST::interdisguide; ARTINST::ccguide; ARTINST::techart; SYMSYS::cm-design Wang, G. (PI); Kim, K. (TA)
OSPFLOR OSPFLOR 28 Between Art and Science: the Evolution of Techniques from Antiquity to Leonardo da Vinci View in Explore Courses not given this year 4 no Letter (ABCD/NP) WAY-A-II, WAY-SI UG Revival of technical activity that began in the late fourteenth century, notably in Italy, and lasted, through the fifteenth century. New perspective on the Renaissance through focus on the careers and the most significant achievements of the “artist-engineers” active before Leonardo. OSP::sts; STS::ne-sc; STS::cm-sc; STS::io-sc; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart; SGS::european
OSPOXFRD OSPOXFRD 93 Collecting the World View in Explore Courses Aut 4-5 no Letter (ABCD/NP) GER:DB-Hum, WAY-A-II, WAY-SI UG The art, science, and culture of the creation, transmission and collection of valuable, useful and informative objects and texts before the twentieth century, and the associated theories, purposes, and methods for collecting `worldly’ goods and other valuables. Means by which local academic practices engaged with global developments in the arts and sciences through examination of primarily early modern material and intellectual culture in and around Oxfordshire. Assessments of quality, meaning, usage, cultural significance and the reception of material ¿treasures¿ in the storage rooms, vaults, and on display in museums, galleries, and libraries. OSP::anthro; OSP::arthist; EDUC::alluniversity; ARTINST::ccguide; ARTINST::PDCert; ARTINST::scienceart; OSP::art-history; SGS::european
PSYC PSYC 82 The Literature of Psychosis (ANTHRO 82P, HUMBIO 162L, PSYC 282) View in Explore Courses Spr 3-5 yes Medical Option (Med-Ltr-CR/NC) WAY-A-II UG One of the great gifts of literature is its ability to give us insight into the internal worlds of others. This is particularly true of that state clinicians call “psychosis.” But psychosis is a complex concept. It can be terrifying and devastating for patients and families, and yet shares characteristics with other, less pathological states, such as mysticism and creativity. How then can we begin to make sense of it? In this course, we will examine the first-hand experience of psychosis. We will approach it from multiple perspectives, including clinical descriptions, works of art, and texts by writers ranging from Shakespeare, to the science fiction writer Philip K. Dick, to patients attempting to describe their experience. This class is not only for students thinking of careers in medicine, psychology or anthropology, but also readers and writers interested exploring extraordinary texts. There are no prerequisites necessary; all that is needed is a love of language and a curiosity about the secrets of other minds. ARTINST::scienceart Mason, D. (PI)
PSYC PSYC 111Q The Changing Face of “Mental Illness” in Women: Historical, Medical and Artistic Approaches View in Explore Courses Win 3 no Letter (ABCD/NP) UG In this seminar we want to take a look at women¿s lives beginning in the past century to the present and the many changes which occurred in conceptualizing and understanding mental illness. The female reproductive system has been linked to mental illness in women for centuries. The womb was believed to be the source of anxiety and depression, leading women to become `hysterical¿. But what does `hysteria¿ really mean, and how have historical and cultural attitudes towards women framed the study of women’s mental health? How have the expectations of and demands on women and their role in society changed from the 19th to the 20th century? How have advances in health care and changing economic conditions influenced women¿s health? The course will introduce students to historical and current concepts of mental illness in women. Premenstrual dysphoric disorder (PMS), eating disorders, the hysterias and functional neurologic disorders and infertility and postpartum depression will be analyzed through a historical bio-psycho-social lens. Historical reading will include primary sources, such as women¿s diaries and physicians¿ casebooks and medical case records, as well as secondary sources such as advice books, and 19th- and 20th-century medical texts. Guest speakers from the art history and literature departments will stimulate dialogue regarding literary and artistic images and the social and cultural contexts of these disorders. Importantly, we will examine the changing face of “mental illness in women” in art, literature and medicine–the evolution of diversity in represented voices and the current methods of researching and treating the interface between the female reproductive cycle and psychiatric illness in diverse populations of women. Embedded within each lecture will be break-out sessions with opportunities for students to ask questions and to discuss a topic in greater depth. Students will have the opportunity to complete their own interdisciplinary projects for the course. Prior projects have included not only power point presentations of diverse topics, but also short films and stories, and future women’s mental health research project proposals. FEMST::Cognate; SPBK::2; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart; ARTINST::interdisguide Casper, R. (PI); Williams, K. (PI)
SOMGEN SOMGEN 213 The Art of Observation: Enhancing Clinical Skills Through Visual Analysis View in Explore Courses Win 1 no Medical Satisfactory/No Credit GR Offers medical students the opportunity to enhance their observational and descriptive abilities by analyzing works of art in the Stanford museums. Working with the Cantor Arts Center staff and Stanford Art History PhD candidates, students spend time in each session actively looking at and describing works in the gallery. Discussion with medical school faculty follows, providing a clinical correlate to the gallery session. Classes interrogate a different theme of medical observation and clinical practice and includes opportunities for an applied clinical session in the hospital with course-affiliated physicians. EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::scienceart
STS STS 199J Editing a Science Technology and Society Journal View in Explore Courses Aut, Win, Spr 1-2 yes Satisfactory/No Credit UG The Science Technology and Society (STS) Program has a student journal, Intersect, that has been publishing STS student papers for a number of years. This course involves learning about how to serve as an editor of a peer-reviewed journal, while serving as one of the listed editors of Intersect. Entirely operated online, the journal uses a work-flow management to help with the submission process, peer-review, editing, and publication. Student editors learn by being involved in the publishing process, from soliciting manuscripts to publishing the journal’s annual issue, while working in consultation with the instructor. Students will also learn about current practices and institutional frameworks around open access and digital publishing. EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::PDCert; ARTINST::scienceart Willinsky, J. (PI)
SURG SURG 70Q Surgical Anatomy of the Hand: From Rodin to Reconstruction View in Explore Courses not given this year 2 no Letter or Credit/No Credit UG The surgical anatomy of the hand is extremely complex in terms of structure and function. Exploration of the anatomy of the hand in different contexts: its representation in art forms, the historical development of the study of hand anatomy, current operative techniques for reconstruction, advances in tissue engineering, and the future of hand transplantation. EDUC::alluniversity; ARTINST::scienceart; ARTINST::ccguide
SURG SURG 72Q Anatomy in Society View in Explore Courses Spr 3 no Letter (ABCD/NP) UG Preference to Sophomores. This Introductory Seminar is for undergraduates who want to expand their understanding of the influence of human anatomy on the design of commercial products and prosthesis, and the performance of core strengthening exercises, such as: automobile interior design, headphones and ear buds design, exoskeletons and yoga/Pilates. Students will learn how societal advancements have evolved to increasingly accommodate human form and function. Guest speakers are experts in their fields of design, prosthetics and exercise. The laboratory component exposes students to human anatomy via cadaver material, 3D digital images, the 3D anatomy table, apps and models. By the end of this course, students will be able to: describe the concepts of anatomically correct automotive interior design; explain how properly designed head phones and ear buds aid in sound detection; explain how thoughtfully choreographed yoga and Pilates movements incorporate proper joint and muscle movement; explain how properly designed joint prosthesis aids in joint movement and muscle function; and, deliver group presentations using proper communication skills. The class is limited to 14 students. VPUE::sisonlinecat; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart Fogel, B. (PI); Srivastava, S. (PI)
TAPS TAPS 21N The Idea of Virtual Reality View in Explore Courses not given this year 3 no Letter or Credit/No Credit WAY-A-II UG What is virtual reality and where is it heading? Was there VR before digital technology? What is the value of the real in a virtual culture? How, where, and when do we draw the line between the virtual and the real, the live and the mediated today? Concentrating on three aspects of VR simulation, immersion, and interactivity this course will examine recent experiments alongside a long history of virtual performance, from Plato’s Cave to contemporary CAVEs, from baroque theatre design to Oculus Rift. ARTINST::ccguide; ARTINST::scienceart; ARTINST::interdisguide; ARTINST::techart
TAPS TAPS 153M Mechanics of the Theater: The Technologies of Stagecraft View in Explore Courses not given this year 3-4 no Letter or Credit/No Credit WAY-A-II, WAY-SI UG This course explores the history of technologies vital to the theatre: traps, lifts, lights, and sounds have been crucial for creating stage illusion. Divided into three main sections, Mechanics and Machines, Lighting and Projections, and Acoustics and Sound, we will examine the history of technological innovation and theatrical experimentation from the Enlightenment to the present. We will also be conducting case studies for each section with a core text or texts. We will cover Shakespeare’s Hamlet, Ibsen’s Ghosts, Chekhov’s The Seagull, and Dreamgirls, The Musical. n nTechnologies such as mechanical traps, electrical lights, and sound machines have been used to create stunning illusions and spectacular theater. Many of these technologies were also significant for the histories of industrialization and modernization. We will ask: How did theater makers develop and innovate using technological innovations? What role does technological aesthetics play in understanding human culture? What are the relationships between theater, technology, and society? In class, we will be reading, experimenting, and performing with various technological artifacts. We will be conducting experiments alongside our reading practice to better understand our historical subjects. ARTINST::ccguide; ARTINST::scienceart
TAPS TAPS 153T Mechanics of the Stage: The Technology of Tricks and Traps in the History of Stagecraft View in Explore Courses not given this year 4 no Letter or Credit/No Credit WAY-A-II UG From traps, to lifts, to sugar glass props, the stage absorbs and utilizes technological and scientific innovations for its own illusions. In this course, we will examine the history of stagecraft through the technologies and scientific theories that came to define its spectacle. We will explore innovations in perspective scenery, stage mechanics, and lighting design as well as significant stage illusions from the seventeenth century to the present. Readings will include treatises on mechanical apparatus, stage machinery, and architectural theories; schematics, blueprints, and patents of theatre spaces; and readings on theatre theory and stage design. One Shakespeare play, and later twentieth-century adaptations, will provide the focal narrative around which we will examine how changing theories and technologies influence the possibilities of representation. The play will be drawn from The Tempest, Midsummer Night¿s Dream, or Hamlet with selected twentieth- century adaptations. Creative projects will be included in the course work. ARTINST::ccguide; ARTINST::PDCert; ARTINST::scienceart
TAPS TAPS 154P Stage Physics and Chemical Theaters: Science & Contemporary Performance View in Explore Courses not given this year 4 no Letter or Credit/No Credit WAY-A-II UG Using the concept of theatre and performance as a way of seeing and being in the world, this course investigates the presentation and representation of science through texts, images, films, and experiences. The knowledge and objects of scientific research have often overlapped with aesthetic practices of literature, art, and performance. Whether through playwrights evaluating the impact of spectacular and dangerous technologies (e.g. Michael Frayn’s Copenhagen) or researchers exploring creativity in science communication (Dr. Brian Cox’s Forces of Nature), the practices of science and performance consistently intersect. In this course, we will explore how scientists, playwrights, artists, and inventors have engaged with science and technology through performance. We will examine the history of scientific process and theatrical performance, revisit debates over the relationship between the disciplinary science and arts, and will develop a critical vocabulary for approaching contemporary performance and scientific work. We will delve into the world of science communication, scientific practice, and the SciArts—all the while keeping a keen eye on the questions and epistemologies of theatrical and performative practice. The course will include in-class activities, excursions, and creative writing projects. ARTINST::ccguide; ARTINST::scienceart
TAPS TAPS 253T Virtual Realities: Art, Technology, Performance View in Explore Courses not given this year 2-4 no Letter or Credit/No Credit UG Contemporary virtual reality extends a long-standing quest to create a fully immersive, multisensory environment, a quest that may go back to the earliest cave paintings and includes such projects as cathedrals, operas, panoramas, theme parks, video games, and multimedia “happenings.” What is VR’s relation to this long and varied history? What are the ethics, aesthetics, promises, and perils of this new medium? What is meant by “immersion,” “interactivity,” and “presence,” and how is VR changing those terms? How might VR relate to contemporary immersive theater and installation art – as well as to the mediatization of society more generally? ARTINST::scienceart; ARTINST::ccguide; STS::cm-sc; STS::io-sc; ARTINST::techart; COMM::elective; STS::sddi-sc

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