Dance Education (Undergraduate)
4 credits – 15 Weeks
How does language make us see? From petroglyphs to internet memes, there are many points of intersection between written and visual modes of communication. This multigenre creative writing workshop begins with a close examination of literary images. Through a mix of creative writing assignments and readings, students identify and practice techniques by which writers have rendered the visual in language; explore ekphrasis (that is, literary descriptions of and responses to works of art); experiment with the wide array of traditions in which text and image are combined (e.g. concrete poetry, collaged text, and the comic panel); respond to visual arts that use language as a primary medium; and consider description as deception. At the heart of this course are fundamental questions of representation. What besides visual content do literary images offer? What are the mechanics of description, and what aesthetic and ethical questions can it pose for writers? Readings include works by Virginia Woolf, John Keene, Marjane Satrapi, Anne Carson, and Robin Coste Lewis, among others.
Advanced Writing Courses (Undergraduate)
4 credits – 15 Weeks
WRTNG-UG 1531-000 (13431)01/23/2023 – 05/08/2023 Mon,Wed12:00 AM – 1:00 PM (Early afternoon)at Washington SquareInstructed by Paty, Allyson
Please check the departmental website for description
College Core Curriculum (Undergraduate)
4 credits – 15 Weeks
CORE-UA 725-000 (19742)09/01/2022 – 12/14/2022 Mon,Wed8:00 AM – 9:00 AM (Morning)at Washington SquareInstructed by Cohen, Jean-Louis
CORE-UA 725-000 (19743)09/01/2022 – 12/14/2022 Fri8:00 AM – 9:00 AM (Morning)at Washington SquareInstructed by
CORE-UA 725-000 (19744)09/01/2022 – 12/14/2022 Fri9:00 AM – 10:00 AM (Morning)at Washington SquareInstructed by
CORE-UA 725-000 (19745)09/01/2022 – 12/14/2022 Fri11:00 AM – 12:00 AM (Morning)at Washington SquareInstructed by
CORE-UA 725-000 (19746)09/01/2022 – 12/14/2022 Fri12:00 AM – 1:00 PM (Early afternoon)at Washington SquareInstructed by
Interdisciplinary Seminars (Undergraduate)
4 credits – 14 Weeks
In the twenty-first century, the Internet arguably makes secrecy impossible, but the exposure of secrets is already an important theme in many 19th-century British novels. In part, this reflects a society in which identity seems increasingly malleable through greater social class mobility, the questioning of traditional gender roles, and imperialist opportunities. In these novels, fake identities conceal a murderer and a madwoman, among others. And the societal constraints inspiring the fictional secrets also led the authors to keep secrets of their own. Beloved author Charles Dickens, the father of 10, had a 13-year love affair with a woman who was 18 when they met. But does the novel genre, particularly the “realist” Victorian novel, with its emphasis on an omniscient narrator and intersecting plots, have a special relationship to secrets? We attempt to uncover the answer by studying Jane Eyre (1847) by Charlotte Bronte (1847), Great Expectations (1861), by Charles Dickens, George Eliot’s Middlemarch (1871-2), and Arthur Conan Doyle’s first Sherlock Holmes novel, A Study in Scarlet (1887). Theory and criticism include selections from Michel Foucault’s History of Sexuality, Edward Said’s Culture and Imperialism, Sandra Gilbert and Susan Gubar’s The Madwoman in the Attic, and Gayatri Chakravorty Spivak’s “Three Women’s Texts and a Critique of Imperialism
Interdisciplinary Seminars (Undergraduate)
4 credits – 15 Weeks
IDSEM-UG 1726-000 (10251)01/21/2025 – 05/06/2025 Wed2:00 PM – 4:00 PM (Early afternoon)at Washington SquareInstructed by Foley, June
This workshop studies the new, groundbreaking formats and genres of television storytelling by experiencing the unique creative process through which an original series makes its way to the screen. Together, we will break down the early proposals developed by the original show creators to present the episodes, narrative arcs and character profiles of their series, and we will compare them with the fully produced pilot. In-class screenings will include Squid Game, Euphoria, True Detective, the end of the f*** world, Rick & Morty, Breaking Bad, Mr. Robot and Stranger Things. The participants will be guided through the process of creating a unique series proposal, which includes the pitching of a pilot episode, the development of a first season outline, and the establishment of the series’ visual and narrative tone.
Arts Workshops (Undergraduate)
4 credits – 3 Weeks
ARTS-UG 1568-000 (1563)01/03/2022 – 01/21/2022 Mon,Tue,Wed,Thu2:00 PM – 5:00 PM (Early afternoon)at Washington SquareInstructed by Cristiani, Pedro
This 14-week class introduces students to the history of innovative entrepreneurs and institutions in American recorded music. We recount the stories and make arguments about famous executives, managers, producers, performers, DJs, and journalists/publishers from the dawn of the music business until the present day. We study how and why the fields, fiefdoms, and empires built by these impressive and sometimes controversial icons have transformed the course of popular music. Along the way, students become well versed in the history of 20th and 21st century recorded music, and in various music genres and styles; and we place the art and business of creating and selling recorded music in historical, political, cultural and social context. Throughout, we look at approaches to crafting successful oral and written arguments about popular music with clear, compelling writing about sound.
Media, Culture & Communication (Undergraduate)
4 credits – 15 Weeks
Your voice is the most exquisite musical instrument known to humankind. Its infinite potential is multiplied and magnified through shared vibration with other voices. In Singing With Everybody, we will sing together and compose new vocal works that expand the range of our voices as spiritual-artistic-analytical tools.Students will study music composition in a two-pronged approach: through embodied singing practice, as both choral ensemble members and choral conductors, and through the study of musical forms including songwriting, folk, pop, classical, and experimental traditions. Throughout the semester, students will develop fundamental skills in music theory, digital audio processing, and creative organization in weekly composition etudes. This work will culminate in choral compositions to be performed by the class in a final concert open to the public. This final composition must take the form of a “score,” through which students develop a personal method for communicating their musical ideas to a performing ensemble of diverse skill levels. Class participation will often involve making loud, ridiculous sounds together as we dive into sonic discovery and musical mess-making. Students of all or no musical backgrounds are encouraged to join. Singing will become an everyday part of our lives as we explore the power and versatility of vibrating together.
Art History (Undergraduate)
4 credits – 14 Weeks
Interdisciplinary Seminars (Undergraduate)
4 credits – 15 Weeks
This course explores the pictorial articulation of individual human likeness and its fiction in the public forum. The art of portraiture has survived its own origins in myth making and archetype building. The human image, or icon, forever landmarks the voices, textures, physicality, spirituality, symbols, politics, aesthetic concerns and military contexts, religious rituals, government, calendar ceremonies, daily functions, heroic acts and social disorders of diverse cultures throughout recorded history. It is the history of creation, the story of romance, the mark of progress, the record of royalty and the profile of democracy. It is the revolution of fine art and a catalyst of discipline. Imaging the individual in the public eye is the story of humankind. This course bridges the worlds of the oral and written mythologies which inhabit and empower us and the creative manifestation (conscious and unconscious) of these ancient archetypes into contemporary art, media and design. Students will critically rethink the implied and material presence of portraiture in everyday life. Students will gain practical knowledge and insight into the origins and potential power of the archetypes which permeate our collective unconscious.
Whether you are a filmmaker looking to better understand how to build a cohesive and productive film crew; a theatre maker excited about building a performance project or theatre company; a multi-media artist looking for ways to innovate your ideas for artistic work in collaboration with others; an artist looking for tools for building an artistic ensemble, or a multi-disciplinary artist looking to take your creative work out into communities as social practice, this combination lecture/activity-based class provides you with tools for better understanding how to enter into and engage others in collective creative work of purpose. Multi-Disciplinary Arts Practice with Community Groups: Theories and Practice explores the challenges and benefits of making artistic work with others and the tools needed to create meaningful collaborative projects. In this class we interrogate definitions of community and group, explore the balance between group process and producing an artistically excellent project, and examine the processes of creating artistic work with others to strengthen our own artistic voices while helping raise the creative voices of others. With its focus on social practice, this course provides a foundation for working with small group structures in a variety of community settings and professional creative work environments. The course satisfies a CA major requirement as well as a social science requirement for all other Tisch students.
Language of Film is an introduction to the craft, history and theory of filmmaking and film-watching. The main challenge facing all filmmakers is to show the story: in other words, to visualize the drama. Over the past century, narrative, experimental and documentary filmmakers have developed a variety of creative strategies and techniques designed to give their audiences compelling, multi-sensorial experiences. The goal of this class is to explore how filmmakers in different historical and cultural settings have contributed to the evolution of film as a powerful, complex and captivating art form.. This course allocates as History & Criticism for Film & TV majors.
Painting is an incredibly versatile medium and its dynamic evolution across cultures and through millennia continues up until the present. The medium’s relevance and capacity for reinvention are evidenced in the work of a number of contemporary painters who have incorporated inventive materials and/or methods into their practice to both push its limits and explore contemporary concerns. In this class, students will get an introduction to the fundamental technical, formal, and conceptual principles of painting. Using watercolor, gouache, and acrylic, students will explore color theory, composition, texture, form, and surface using a wide range of techniques. Through selected readings, students will also examine the theoretical questions and historical precedents that have informed painting’s development, see how they relate to or have been challenged by the work of contemporary painters and be able to connect select concerns to their own practice. In addition to acquiring basic technical skills and conceptual know-how, students will also gain competency in art critiques and writing artist statements. Prerequisite: None. Fulfillment: general elective
Art (Undergraduate)
4 credits – 14 Weeks
ART-SHU 211-000 (19569)02/07/2022 – 05/13/2022 Mon1:00 PM – 4:00 PM (Early afternoon)at ShanghaiInstructed by Kramer, Maya
Introduction to the foods of various world regions and the techniques used to prepare them through hand-on food preparation, demonstrations, lectures and field trips.
Nutrition & Dietetics (Undergraduate)
3 credits – 15 Weeks
NUTR-UE 85-000 (10938)01/23/2023 – 05/08/2023 Mon4:00 PM – 6:00 PM (Late afternoon)at Washington SquareInstructed by Mortillaro, Lourdes
NUTR-UE 85-000 (12408)at Washington SquareInstructed by
NUTR-UE 85-000 (12409)01/23/2023 – 05/08/2023 Tue9:00 AM – 12:00 AM (Morning)at Washington SquareInstructed by
NUTR-UE 85-000 (12410)01/23/2023 – 05/08/2023 Tue4:00 PM – 7:00 PM (Late afternoon)at Washington SquareInstructed by
NUTR-UE 85-000 (12411)01/23/2023 – 05/08/2023 Wed9:00 AM – 12:00 AM (Morning)at Washington SquareInstructed by
NUTR-UE 85-000 (11672)01/23/2023 – 05/08/2023 Wed1:00 PM – 4:00 PM (Early afternoon)at Washington SquareInstructed by
NUTR-UE 85-000 (12412)01/23/2023 – 05/08/2023 Wed4:00 PM – 7:00 PM (Late afternoon)at Washington SquareInstructed by
NUTR-UE 85-000 (12413)01/23/2023 – 05/08/2023 Thu9:00 AM – 12:00 AM (Morning)at Washington SquareInstructed by
NUTR-UE 85-000 (12414)01/23/2023 – 05/08/2023 Tue1:00 PM – 4:00 PM (Early afternoon)at Washington SquareInstructed by
Carrasco, Heeger, Landy, Pelli. Offered every semester. 4 points. How do we construct a conception of physical reality based on sensory experience? Survey of basic facts, theories, and methods of studying sensation and perception. The major emphasis is on vision and audition, although other modalities may be covered. Represen-tative topics include receptor function and physiology; color; motion; depth; psychophysics of detection, discrimination, and appearance; perceptual constancies; adaptation, pattern recognition, and the interaction of knowledge and perception.
Psychology (Undergraduate)
4 credits – 15 Weeks
PSYCH-UA 22-000 (8495)01/24/2022 – 05/09/2022 Mon,Wed3:00 PM – 4:00 PM (Late afternoon)at Washington SquareInstructed by Maloney, Laurence
PSYCH-UA 22-000 (8496)01/24/2022 – 05/09/2022 Mon4:00 PM – 6:00 PM (Late afternoon)at Washington SquareInstructed by Little, Pat
PSYCH-UA 22-000 (8497)01/24/2022 – 05/09/2022 Fri2:00 PM – 3:00 PM (Early afternoon)at Washington SquareInstructed by Little, Pat
PSYCH-UA 22-000 (8498)01/24/2022 – 05/09/2022 Tue3:00 PM – 4:00 PM (Late afternoon)at Washington SquareInstructed by Zhou, Elizabeth
PSYCH-UA 22-000 (8499)01/24/2022 – 05/09/2022 Wed4:00 PM – 6:00 PM (Late afternoon)at Washington SquareInstructed by Kwak, Yuna
PSYCH-UA 22-000 (25982)01/24/2022 – 05/09/2022 Mon4:00 PM – 6:00 PM (Late afternoon)at Washington SquareInstructed by Kwak, Yuna
PSYCH-UA 22-000 (25984)01/24/2022 – 05/09/2022 Wed9:00 AM – 10:00 AM (Morning)at Washington SquareInstructed by Zhou, Elizabeth
Investigates the evolutionary origins of humans. The study of human evolution is a multidisciplinary endeavor involving a synthesis of concepts, techniques, and research findings from a variety of different scientific fields, including evolutionary biology, paleontology, primatology, comparative anatomy, genetics, molecular biology, geology, and archaeology. Explores the different contributions that scientists have made toward understanding human origins and provides a detailed survey of the evidence used to reconstruct the evolutionary history of our own species.
Anthropology (Undergraduate)
4 credits – 15 Weeks
ANTH-UA 2-000 (7767)09/02/2021 – 12/14/2021 Mon,Wed12:00 AM – 1:00 PM (Early afternoon)at Washington SquareInstructed by Higham, James
ANTH-UA 2-000 (7775)09/02/2021 – 12/14/2021 Mon3:00 PM – 4:00 PM (Late afternoon)at Washington SquareInstructed by Gunson, Jessica
ANTH-UA 2-000 (7768)09/02/2021 – 12/14/2021 Mon4:00 PM – 6:00 PM (Late afternoon)at Washington SquareInstructed by Gunson, Jessica
ANTH-UA 2-000 (7769)09/02/2021 – 12/14/2021 Tue8:00 AM – 9:00 AM (Morning)at Washington SquareInstructed by Galway-Witham, Julia
ANTH-UA 2-000 (7770)09/02/2021 – 12/14/2021 Tue9:00 AM – 10:00 AM (Morning)at Washington SquareInstructed by Galway-Witham, Julia
ANTH-UA 2-000 (7771)09/02/2021 – 12/14/2021 Tue12:00 AM – 1:00 PM (Early afternoon)at Washington SquareInstructed by Wang, Xue
ANTH-UA 2-000 (7772)09/02/2021 – 12/14/2021 Tue6:00 PM – 7:00 PM (Evening)at Washington SquareInstructed by Dudas, Madelynne
ANTH-UA 2-000 (7773)09/02/2021 – 12/14/2021 Tue4:00 PM – 6:00 PM (Late afternoon)at Washington SquareInstructed by Dudas, Madelynne
ANTH-UA 2-000 (7774)09/02/2021 – 12/14/2021 Wed2:00 PM – 3:00 PM (Early afternoon)at Washington SquareInstructed by Wang, Xue
ANTH-UA 2-000 (26376)09/02/2021 – 12/14/2021 Wed3:00 PM – 4:00 PM (Late afternoon)at Washington SquareInstructed by Guerra, Jordan
Do you want to MAKE THINGS with your computer? Are you an artist, engineer, designer, sculptor or architect? Are you a few of those things? How are 3D scanning and 3D modeling different? What materials should I be using? Should I be 3D printing or CNC-ing this CAD file? What is a Boolean operation and why is it my new best friend? This class will answer all of your questions. Don’t know what any of these things are? This class will answer those questions also. By the end of this course, you will be familiar with all that digital fabrication has to offer. We will cover everything from laser to 3D to CNC. You will learn how to identify which digital fabrication technique works best for your projects. But more than that, you will learn what kinds of questions you should be asking in order to complete a project from start to finish. As technology advances at rapid speeds, digital making machines and software are changing just as fast. So instead of just being taught about the machines of today, you will also be given the tools to teach yourself the machines of tomorrow. Emphasis will be put on learning how to ask the right kind of questions to successfully finish a project. What do you want to make? Let’s make it.
“Critical Experience is an experiential journey through a research driven art practice rooted in care, community, and somatic inquiry. This class is based on the premise that there are many ways to know things and we can draw upon these ways of knowing and our desire to know in order to nurture a creative practice grounded in research, clear intention, and a critical lens. Critical here means: discerning, eager to participate differently, cast new light on, re-examine, course-correct. You will be guided through traditional research methods (library and interview techniques, citations, informal ethnographies) and experience design while also being asked to cultivate intentional awareness of your own positionalities, communities, personal strengths, emotions, and desires through experimentation, hunch following, rituals, and contemplative practices.This class was created for or artists/designers who are interested in participation/interaction and its relationship to social practice, critical design, and change-making as well as individuals curious about knowing what moves them. Why experience? The work in this class will be looked at through the lens of its ability to transform (a user, participant, audience, viewer). Interactivity is one way of doing that, but through the lens of experience design, all art is temporal and embodied.”