Visual Arts

The Department of Visual Arts offers courses in painting, drawing, sculpture, performance, computing for the arts, film, video, photography, and art history/criticism (including that of film and video). A bachelor's degree from this department provides students with a solid liberal arts background and is preparatory training for careers as artists, art historians, filmmakers, video artists, photographers, digital media artists, and art critics. It also provides students the initial skills required for teaching and work in museums, television, and the commercial film, photography, and internet industries.

By its composition, the Department of Visual Arts is biased in the direction of actively producing artists and critics whose presence at the center of the contemporary art world necessitates reconsideration and reevaluation of artistic productions, their information structure, and significance. Consequently, a flexible introductory program of historically based courses has been devised mainly to provide the student an opportunity to concentrate on areas involving significantly different aesthetic and communication structures. A series of studio courses, in which painting and sculpture are included, is presented to bring the student into direct contact with the real contingencies compelling redistribution of aesthetic attitudes and reinterpretation of genres. Because of the exploratory nature of our program, the department is prepared to emphasize new media that would traditionally be considered to have scant relation to the visual arts. Thus courses in theatrical events, linguistic structures, etc., are provided. In this context, theoretical courses with a media orientation, as in film, video, photography, or computing, are offered also.

The Department of Visual Arts is located in the Mandeville Center for the Arts. In addition, faculty and graduate students have offices/studios/research spaces in the Visual Arts Facility located in Eleanor Roosevelt College. Facilities and equipment are available to undergraduates in both the Mandeville Center and at the campus-wide Media Center, providing the opportunity to study painting, drawing, photography, computing in the arts, 16mm film, performance, sculpture, and video. Facilities at the Media Center include portable video recording equipment, video and audio editing suites, non-linear editing, and production studios. The department also has the in-house capacity to process and print black and white 16mm film. Additional film equipment available includes an animation stand, optical printer, two sound-mixing studios, and numerous film editing suites. Courses in computing in the arts take place in the Silicon Graphics/Mac/NT lab located at the Visual Arts Facility, the INTEL-shared lab in the Applied Physics and Mathematics building, and a new dedicated ICAM lab in building 201 University Center.

The University Art Gallery displays a continually changing series of exhibitions, and the Mandeville Annex Gallery, located on the lower level, is directed by visual arts undergraduate students. A gallery and performance space, located in the Visual Arts Facility, are directed by graduate students.

The Undergraduate Program

College Requirements

The Department of Visual Arts teaches courses applicable toward the Muir and Warren general-education requirements, the Marshall humanities requirement, the Eleanor Roosevelt and Revelle fine arts requirements. Optional minors may be taken within any college.

Minor in Visual Arts

The Department of Visual Arts offers minors in seven areas of study: studio painting/drawing/sculpture, photography, computing, art history, media history/criticism, film/video, and ICAM. A minor consists of six specific courses of which at least three must be upper-division. Effective January 1, 1998, a minor will consist of seven specific courses, of which at least five must be upper-division. Because the requirements differ for each minor, prospective visual arts minors should consult with the departmental adviser for a complete list of appropriate classes acceptable for the minor.

Students are advised to begin their program in the second year; otherwise, they cannot be guaranteed enough time to complete the classes required for a minor.

Education Abroad Program

Students are often able to participate in the UC Education Abroad Program (EAP) and UCSD's Opportunities Abroad Program (OAP) while still making progress toward completing their major. Financial aid is applicable to study abroad and special study abroad scholarships are readily available. Students considering this option should discuss their plans with the director of Undergra-duate Studies before going abroad, and courses taken abroad must be approved by the department. More information on EAP/OAP is detailed in the Education Abroad Program of the UCSD General Catalog or on their Web site http://www.ucsd.edu/icenter/pao. Interested students should contact the Program Abroad Office in the International Center.

Residency Requirements

A minimum of two-thirds of the course work completed for the major must be taken as a registered student at UCSD. Students who transfer to UCSD in their second or third year may petition to substitute courses taken at other colleges and universities for lower-division requirements.

Visual Arts 111, Structure of Art, is a required course for all students, including transfer students, in the art history, media, and studio majors.

Note: Rarely are community college transfer credits accepted toward fulfilling upper-division requirements in any of the four majors but courses of comparable content will be considered by petition.

Honors Programs

The department offers honors programs in art history, in media, and in studio for outstanding students.

The art history honors program will provide outstanding students with pre-professional experience. It consists of an issue-oriented seminar followed by a directed group study and will result in an exhibition with catalogue, a scholarly conference with a mock publication and/or series of research papers. Students who meet the criteria may, with permission of the art history faculty adviser or the art history honors seminar instructor, enroll in the art history honors program during the last quarter of their junior year or as a senior. This program is open to juniors and seniors who meet eligibility requirements: minimum GPA of 3.5 (3.3 overall), completion of all lower-division art history requirements, completion of all upper-division art history distribution requirements, and completion of Art Historical Methods (VIS 112) and at least one additional art history seminar. The level of distinction will be determined by the faculty committee on the basis of work in the honors seminar and on the research project.

The media honors program will help students develop high quality professional portfolios. The honors thesis project sequence of individual studies runs the length of an academic year to provide sufficient time for ideas to develop and critically aware work to be produced. Students may arrange to work with different faculty advisers each term or may engage a single adviser for the year. To be eligible for the honors thesis sequence, taken during the last quarter of their junior year or as a senior, students must have at least a 3.5 GPA in the major and have approval of all the advisers with whom they will work. At the end of the spring quarter, all involved media faculty will meet to critique the overall quality of the final thesis work to determine level of distinction.

Through exhibition, verbal and written presentations and course work, the studio honors program is intended to give the student as strong a technical, critical, and theoretical base as possible. The program is open to juniors and seniors with a minimum 3.5 GPA in the major (3.0 overall), who have completed all lower-division studio requirements and all upper-division groups I, II, III, and IV (subgroup A) requirements.

Students interested in participating in an honors programs should consult with the departmental adviser.

Double Major within the Department

There are three double majors within the Visual Arts department: Art History/Theory/Criticism paired with either studio, media, or ICAM. Students interested in a double major within the department must have at least ten upper-division courses that are unique to each departmental major and the remaining courses may overlap with other major requirements. Students should consult with the departmental adviser for additional information.

Major Requirements

Twenty courses are required in studio, media, and ICAM and eighteen courses in art history for the attainment of the bachelor of arts degree. A minimum of twelve of these courses must be upper-division, however, some majors may require more upper-division courses.

All courses taken to satisfy major requirements must be taken for a letter grade, and only grades of C– or better will be accepted in the visual arts major.

Studio Major

The studio major is aimed at producing a theoretically based, highly productive group of artists. Lower-division courses are structured to expose students to a variety of ideas in and about the visual arts. Introductory skills are taught, but their development will occur at the upper-division level in conjunction with the student's increasing awareness of the range of theoretical possibilities in the field. The curriculum includes courses in drawing, painting, sculpture, performance, photography, video, 16mm film, many offerings in art history/criticism, as well as new courses in digital imaging and electronics.

GROUP I: LOWER-DIVISION

Foundation Level

Five courses required

1 Introduction to Art Making: Two-Dimensional Practices
2 Introduction to Art Making: Motion and Time Based Art
3 Introduction to Art Making: Three-Dimensional Practices
22 Formations of Modern Art

Choose one from:

20 Introduction to Art History
21 Introduction to Non-Western Art
84 History of Film

GROUP II: UPPER-DIVISION

Entry Level

Five courses required

111 Structure of Art

Note: Required for Visual Arts studio, media, and art history majors. VIS 111 can be taken at the same time as any "A" series classes or VIS 40, 60 or 70N. VIS 40, 60, or 70N can be taken to fulfill Group II upper-division studio.

Choose four from:

40/ICAM 40 Introduction to Computing in the Arts
60 Introduction to Photography
70N Introduction to Media
104A Performing the Self
105A Drawing: Representing the Subject
106A Painting: Image Making
107A Sculpture: Making the Object

GROUP III: UPPER-DIVISION

Intermediate Level

Two courses required

104BN Verbal Performance
105B Drawing: Practices and Genre
106B Painting: Practices and Genre
107B Sculpture: Practices and Genre
140/ICAM 101 Digital Imaging: Image and Interactivity
147A Electronic Technologies for Art I

GROUP IV: UPPER-DIVISION

Advanced Level

Five courses required

Group A:

Choose two from:

104CN Personal Narrative
105C Drawing: Portfolio Projects
106C Painting: Portfolio Projects
107CN Sculpture: Portfolio Projects
147B Electronic Technologies for the Art II

Group B:

Group A must be completed before Group B can be taken.

Choose three from:

108 Advanced Projects in Art
110A Contemporary Issues and Practices
110B New Genres/New and Old Technologies
110C Proposals, Plans, Presentations
110D Visual Narrative/Tableau
110E Art in Public Places/Site Specific Art
110F Installation: Cross-Disciplinary Projects
110G The Natural and Altered Environment
110H Image and Text Art
110I Performing for the Camera
110J Ritual Performance
110K Installation Performance
130 Special Projects in Visual Arts

GROUP V: UPPER-DIVISION

Non-Studio

Three courses required

Upper-division art history, film history, and theory/criticism courses such as:

113CN* History of Criticism III: Contemporary (1950–present)
117B* Theories of Representation
117D* Portraiture
124CN Nineteenth Century Art
125A Twentieth Century Art
125BN Contemporary Art
125CN Histories and Contexts of Conceptual Art
125E* History of Performance
126F* Western and Non-Western Rituals and Ceremonies
152 Film in Social Context
154 Hard Look at the Movies
157 Video History and Criticism
158 Histories of Photography
159/ICAM 150 History of Art and Technology

*seminar

Honors Program in Studio

110M Studio Honors I
110N Studio Honors II

The Studio Honors I and the attached Studio Honors II count as one course towards the fulfillment of a Group IV requirement.

Art History/Theory/Criticism Major

The major in art history, theory, and criticism is designed both for students who desire a broadly based education in the humanities and for those who plan to pursue a career in an art-related profession. In both cases, the foundation for study is proficiency in the languages of artistic expression. Through the study of art history, students learn to treat works of art as manifestations of human belief, thought, and experience in Western and non-Western societies from prehistory to the present day. Courses in criticism review the theoretical approaches which are used to understand artistic achievement. By combining art historical and critical study, the program promotes in the student an awareness of the cultural traditions which have shaped his or her intellectual outlook and provides a framework for informed judgment on the crucial issues of meaning and expression in contemporary society.

Majors are encouraged to take relevant courses in allied disciplines such as history, communication, anthropology, and literature, and in such area programs as classics and Italian studies. In addition, students who plan to apply to graduate schools are strongly advised to develop proficiency in one or more foreign languages, as is dictated by their area of specialization.

FOUNDATION LEVEL— LOWER-DIVISION

Five courses required

20 Introduction to Art History
21 Introduction to Non-Western Art
22 Formations of Modern Art
23 Information Technologies in Art History

Choose one from:

1, 2, 3 Introduction to Art-Making
60 Introduction to Photography
70N Introduction to Media

ADVANCED LEVEL— UPPER-DIVISION

Thirteen courses required

GROUP I—Required Courses

Two courses

These two courses are required for all art history and criticism majors:

111 Structure of Art*
112 Art Historical Methods

Note: Majors must complete VIS 112 by the end of their junior year and are strongly advised to do so earlier.

* Required of Visual Arts art history, media, and studio majors.

GROUP II—Distributional Requirement

Five courses

Choose one course from each of the following areas:

1. Pre-Modern: Ancient and Medieval

   120A Greek Art
   120B Roman Art
   120C Late Antique Art
   120D Prehistoric Art
   121AN The Idea of Medieval Art
   121B Castles, Cathedrals, and Cities
   121C* Art and Gender in the Middle Ages and Renaissance
   121D* The Illuminated Manuscript in the Middle Ages
   121E The Pursuit of the Millennium
   128AN Topics in Pre-Modern Art History
   129AN* Special Problems in Pre-Modern Art History

2. Early Modern: Renaissance and Baroque

   122AN Renaissance Art
   122BN Vision, Belief, and Civic Virtue: Italian Art of the Early Renaissance
   122CN Defining High Renaissance Art
   122D Michelangelo
   122E* The City in Italy
   123AN Between Spirit and Flesh: Northern Art of the Early Renaissance
   123BN* Jan van Eyck
   123CN* Early Print Culture: The First Media Revolution
   124AN Baroque Art
   128BN Topics in Early Modern Art History
   129BN* Special Problems in Early Modern Art History

3. Modern

   124BN Art and the Enlightenment
   124CN Nineteenth Century Art
   125A Twentieth Century Art
   125BN Contemporary Art
   125CN Histories and Contexts of Conceptual Art
   125DN* Marcel Duchamp
   125E* History of Performance
   128CN Topics in Modern Art History
   129CN* Special Problems in Modern Art History
   158 Histories of Photography
   159/ICAM 150 History of Art and Technology

4. Non-Western

   126AN Pre-Columbian Art of Ancient Mexico and Central America
   126BN The Art and Civilization of the Ancient Maya
   126CN Art of the North American Indians
   126DN African and Afro-American Art
   126E Oceanic Art
   126F* Western and Non-Western Rituals and Ceremonies
   126G* Problems in Mesoamerican Art History
   126H* Problems in Ancient Mayan Iconography and Inscriptions
   128DN Topics in Non-Western Art History
   129DN* Special Problems in Non-Western Art History

5. Theory

   113AN* History of Criticism I: Early Modern
   113BN* History of Criticism II: Early Twentieth Century (1900–1950)
   113CN* History of Criticism III:Contemporary (1950–Present)
   114 Art Criticism
   117A* Narrative Structures
   117B* Theories of Representation
   117C* Art in Time: The Historical Dimension
   117D* Portraiture
   117E* Problems in Ethnoaesthetics
   128EN Topics in Art Theory and Criticism
   129EN* Special Problems in Art Theory and Criticism

Students must take at least two upper-division seminars in addition to VIS 112 and to the course taken in fulfillment of the distribution requirement for Theory. These two additional seminars may be taken in fulfillment of Pre-Modern, Early Modern, Modern and Non-Western or as open electives.

Art history majors cannot enroll in more than one upper-division seminar without having completed Information Technologies in Art History (VIS 23) and Art Historical Methods (VIS 112).

GROUP III—Electives

Six courses

Students are required to take six upper-division courses in addition to VIS 111, VIS 112 and those used to fulfill the distribution requirements. At least three of these must be courses in art history or theory. For the remaining three, choose from the following:

• Any upper-division art history course (s) in history or theory
• any upper-division course(s) in media history and criticism (e.g., VIS 150, 151, 152, 153, 154, 155, 157);
• up to two upper-division courses in studio or media production; or
• with permission of art history faculty adviser, one upper-division course in a related department or program such as anthropology, history, literature, or critical gender studies.
• Two two-unit curatorial practices workshop courses (VIS 127A) count as one course towards the fulfillment of an elective.

Media Major

With a visual arts foundation, the program is designed for students who want to become creative videomakers, filmmakers, photographers, and computer artists, encouraging the hybridity of media. The curriculum combines hands-on experience of making with practical and theoretical criticism, provides historical, social, and aesthetic backgrounds for the understanding of modern media, and emphasizes creativity, versatility, and intelligence over technical specializations. It should allow students to go on to more specialized graduate programs in the media arts, to seek careers in film, television, computing, or photography, or to develop as independent artists. All media majors should see the Visual Arts Undergraduate Adviser upon entrance into UCSD.

FOUNDATION LEVEL— Lower-Division

Six courses required

Group A

1 or 2 or 3 Introduction to Art Making
22 Formations of Modern Art
84 History of Film

Group B

40/ICAM 40 Introduction to Computing in the Arts
60 Introduction to Photography
70N Introduction to Media

All six courses listed under Groups A and B above are required. VIS 70N is prerequisite for use of the Media Center facilities; no further production courses may be taken until VIS 70N is completed.

INTERMEDIATE LEVEL— Upper-Division

Nine courses required

Group A

Six courses required

111 Structure of Art
174 Media Sketchbook

Both VIS 111 and VIS 174 are required and prerequisite to further study. Additionally, all courses from one of the following emphases are required.

Computing Emphasis

Three courses plus one from photography or film/video

140/ICAM 101 Digital Imaging: Image and Interactivity

and

141A/B Computer Programming for the Arts I and II

or

145A/ICAM 102 Digital Media II: Time, Movement, Sound
145B Digital Media II

Photography Emphasis

Two courses plus two from computing or film/video

164 Photographic Strategies
165 Camera Techniques

Film and Video Emphasis

Three courses plus one from computing or photography

172 Studio Video
176 Introduction to Filmmaking
177 Scripting and Editing Strategies

Note: Enrollment in production courses is limited to two per quarter. Production courses are numbered VIS 109, 131, 132, 140/ICAM 101, 141A-B, 145A/ICAM 102, 145B, VIS 147A-B, 149/ICAM 130, 164-166, 172-177, and 180A-186.

Group B–History, Criticism, and Theory

Three courses required

113BN History of Criticism II: Early Twentieth Century (1900–1950)
113CN History of Criticism III: Contemporary (1950–Present)
117B Theories of Representation
150 History and Art of the Silent Cinema
151 History of Experimental Film
152 Film in Social Context
153 The Genre Series
154 Hard Look at the Movies
155 The Director Series
157 Video History and Criticism
158 Histories of Photography
159/ICAM 150 History of Art and Technology

Note: Any art history courses in Pre-Modern, Early Modern, Modern, and Theory may be taken to fulfill the Group B requirement.

VIS 158 is required for all students with a photography emphasis.
VIS 159/ICAM 150 is required for all students with a computing emphasis.

ADVANCED LEVEL— Upper Division

Five courses required

180A/B Generating the Narrative I and II

Both of the above are required; VIS 180A must be taken before VIS 180B. Additionally, three electives must be taken.

Electives

Three courses required

Computing Emphasis

147A/B Electronic Technologies for Art I and II
149/ICAM 130 Seminar in Contemporary Computer Topics

Photography Electives

166 Advanced Camera Techniques

Film and Video Electives

181 Sound and Lighting
182 Advanced Editing
186 Advanced Filmmaking Strategies

VIS180A/B must be completed before any of the following four courses may be taken; instructor approval is required to enroll:

109 Advanced Projects in Media
131 Special Projects in Media
132 Installation Production and Studio
197 Media Honors Thesis

Interdisciplinary Computing and the Arts (ICAM)

The Interdisciplinary Computing and the Arts program in the Music and Visual Arts departments draws upon, and aims to bring together, ideas and paradigms from computer science, art, and cultural theory. It also takes for granted that the computer has become a metamedium and that artists working with computers are expected to combine different media forms in their works. All of this makes the program unique among other currently existing computer art or design programs which, on the one hand, usually focus on the use of computers for a particular media (for instance, specializing in computer animation, or computer music, or computer design for print) and, on the other hand, does not enter into a serious dialog with the current research in computer science, only teaching the students off-the-shelf software.

The program also recognizes that creating sophisticated artistic works with computers requires a new model of the creative process, one that combines traditional artistic procedures with the experimental research characteristic of the sciences. All in all, it aims to train a new type of cultural producer, who is familiar with music technology, who is equally proficient with computer programming and artistic skills, who is always ready to learn new technologies, and who is comfortable interacting with scientists and computer industry resources.

The goals of the program are:

• to prepare the next generation of artists who will be functioning in a computer-mediated culture
• to give students necessary technical, theoretical, and historical backgrounds so they can contribute to the development of new aesthetics for computer media
• to prepare students to mediate between the worlds of computer science and technology, the arts, and the culture at large by being equally proficient with computing and cultural concepts
• to give students sufficient understanding of the trajectories of development in computing so they can anticipate and work with the emerging trends, rather than being locked in particular software currently available on the market.

LOWER-DIVISION
(eight courses required)

Arts
Four courses required

MUS 4 Introduction to Western Music
VIS 1 Introduction to Art-Making: Two-Dimensional Practices

and

VIS 22 Formations of Modern Art
VIS 70N Introduction to Media

or

MUS 14 Contemporary Music

and one from:

MUS 1A Music Literacy
MUS 2A Basic Musicianship
MUS 5 Introduction to Music Making

CSE 11 Introduction to Computer Science: JAVA

NOTE: CSE 11 is an accelerated course and presumes prior programming knowledge. If you do not have programming experience, contact the departmental adviser for acceptable alternatives.

MATH 20A Calculus for Science and Engineering
MATH 20B Calculus for Science and Engineering

ICAM 40/VIS 40 Introduction to Computing in the Arts

UPPER-DIVISION
Twelve courses required

Survey
One course required

ICAM 110. Computing in the Arts: Current Practice

Foundation
Three courses required

ICAM 101/VIS 140. Digital Imaging: Image and Interactivity

ICAM 102/VIS 145A. Digital Media I: Time, Movement, Sound

ICAM 103/MUS 170. Musical Acoustics

Advanced
Four courses required

ICAM 120 Virtual Environments

ICAM 130/VIS 149 Seminar in Contemporary Computer Topics

VIS 109 Advanced Projects in Media

VIS 131 Special Projects in Media

VIS 132 Installation Production and Studio

VIS 141A Computer Programming for the Arts I

VIS 141B Computer Programming for the Arts II

VIS 145B Digital Media II

VIS 147A Electronic Technologies for Art I

VIS 147B Electronic Technologies for Art II

VIS 174 Media Sketchbook

MUS 171 Computer Music I

MUS 172 Computer Music II

MUS 173 Audio Production: Mixing and Editing

MUS 175 Musical Psychoacoustics

MUS 176 Music Technology Seminar

Theory and History
Two courses required

ICAM 150/VIS 159. History of Art and Technology

and one of:

VIS 123CN Early Print Culture: The First Media Revolution

VIS 125E History of Performance

VIS 150 History and Art of the Silent Cinema

VIS 151 History of the Experimental Film

VIS 152 Film in Social Context

VIS 153 The Genre Series

VIS 154 Hard Look at the Movies

VIS 155 The Director Series

VIS 157 Video History and Criticism

VIS 158 Histories of Photography

MUS 111 World Music Traditions

MUS 114 Music of the Twentieth Century

Senior Project
Two courses required

ICAM 160A/B. Senior Project in Computer Arts

Admission to the ICAM Major and to the Media Major with Computing Emphasis

Student interest in the interdisciplinary computing and the arts major (ICAM) and the media major with computing emphasis has been strong. Because the department has limited resources to accommodate student demand, it is necessary to limit admission to these majors to the most highly qualified students. Any student admitted to UCSD beginning in fall 2002 who wishes to declare either an ICAM major or media major with computing emphasis will be admitted to the pre-major.

ICAM MAJOR

Students designated as pre-majors in ICAM must complete the following eight required lower-division courses within six quarters (by the end of their sophomore years):

MUS 4 Introduction to Western Music

VIS 1 Introduction to Art-Making

ICAM 40/VIS 40 Introduction to Computing in the Arts

MATH 20A Calculus

MATH 20B Calculus

CSE 11* Introduction to Computer Science: JAVA

VIS 22 Formations of Modern Art

VIS 70N Introduction to Media

MEDIA MAJOR WITH COMPUTING EMPHASIS

Students designated as pre-majors in media with computing emphasis must complete the following six required lower-division courses within six quarters (i.e., by the end of their sophomore years):

Group A (3 courses)

VIS 1 Introduction to Art-Making: Two-Dimensional Practices,
or
VIS 2 Introduction to Art-Making: Motion and Time-Based Art,
or
VIS 3 Introduction to Art-Making: Three-Dimensional Practices

VIS 22 Formations of Modern Art

VIS 84 History of Film

Group B (3 courses)

VIS 40/ICAM 40 Introduction to Computing in the Arts

VIS 60 Introduction to Photography

VIS 70N Introduction to Media

APPLYING TO THE MAJORS

Upon completion of all required lower-division courses, pre-majors who seek entrance to either the ICAM major or the media with computing emphasis must formally apply at the visual arts department Undergraduate Program Office. Admission to these majors will be based on the following criteria: 1. Performance in the lower-division courses as measured by a GPA of 3.0 or higher, determined by the department on an annual basis. 2. Submission to the department of a portfolio of work demonstrating superior progress as a pre-major. The portfolio for both majors will consist of at least two projects that the student has produced in ICAM 40/VIS 40, in another digital arts class, or independently, that in the faculty's judgment demonstrate that the student possesses the artistic ability and technical skills to perform at a high level in upper-division courses in the majors. Pre-majors should consult the undergraduate coordinator in visual arts as to the form in which projects should be submitted (disk, slides, tapes, etc.).

TRANSFER STUDENTS

Beginning in fall 2002, transfer students who wish to declare an ICAM major or media with computing emphasis are subject to the major's admissions policies: that is, they will be admitted initially as pre-majors, apply to the major on the same basis as other students, and be subject to the same requirements with respect to lower-division courses, grade-point average, and portfolio evaluation. Transfers entering with 36 or more quarter units must apply for admission to the major no later than their third quarter of study at UCSD. At the time of admission to the pre-major, transfer students' transcripts will be evaluated by the department to determine what courses completed elsewhere, if any, may be petitioned as equivalent to required courses. Students should be prepared to provide course descriptions and other materials that may be required to determine the content of such courses.

CONTINUING STUDENTS
(STUDENTS ADMITTED PRIOR TO FALL 2002)

Any student admitted to UCSD before fall 2002 may declare an ICAM major or media major with computing emphasis by completing a Change of Major form at the Registrar's Office, attending an orientation meeting, and obtaining a department stamp.

Policies Relating to the ICAM Major and the Media Major with Computing Emphasis

Any ICAM major or media major with computing emphasis whose GPA in courses required for the major drops below 2.0 will be placed on probationary status the following quarter. If, during that probationary quarter, the GPA does not move back to up 2.0 or better, he or she will be dropped from the major.

PRERQUISITES

Students are required to complete all prerequisites prior to enrolling in any course required for the major. Exceptions must be negotiated with the instructor of the course in question, in consultation with the department undergraduate coordinator.

LIMITATIONS TO ENROLLMENT BY NON-MAJORS

A department stamp is required for all upper-division courses in computing in the arts. Because ICAM and media with computing emphasis are impacted majors, first preference in enrollment in upper-division computing in the arts will be given to those two majors and to music majors with a technology concentration. Second preference will be given to other visual arts and music majors. Other students will be admitted to these courses only if space is available.

Master of Fine Arts Program

The program is designed to provide intensive professional training for the student who proposes to pursue a career within the field of art–including art making, criticism, and theory. The scope of the UCSD program includes painting, sculpture, performance, environmental art, photography, film, video, and computer media. The program is unique in that the course of study provides for and encourages student mobility within this range of traditional and media-based components. It also offers opportunities for collaborative work.

The educational path of students is focused around their particular interests in art. The department seeks to provide an integrated and comprehensive introduction to the possibilities of contemporary art production, the intellectual structures which underlie them, and the "world view" which they entail. All art-making activities are considered serious intellectual endeavors, and all students in the program find themselves confronted by the need to develop their intellectual and critical abilities in the working out of their artistic positions. A body of theory-oriented courses is required. Therefore, we have no craft-oriented programs or facilities; nor do we have any courses in art education or art therapy. The courses offered are intended to develop in the student a coherent and informed understanding of the past and recent developments in art and art theory. The program also provides for establishing a confident grasp of contemporary technological possibilities, including those involved in film, video, photography, and the electronic media.

The program includes formal education in lecture and seminar courses as well as study groups, studio meetings, and quarterly departmental critiques. Course work is intended to place art making in critical and intellectual context but doesn't underestimate the central importance of the student's own work. In fact, this aspect of the student's activity is expected to be self-motivated and forms the core around which the program of study operates and makes sense.

No two students will necessarily follow the same path through the degree program, and the constitution of individual programs will depend upon the analysis of their individual needs and interests, worked out by students in collaboration with their individual faculty advisers.

Admission Requirements

Grade-Point Average—An overall GPA of 3.00 and a 3.50 in a student's undergraduate major is required.

Art History—Students are expected to have had at least four semester courses or six quarter courses in art history and/or film history/criticism at the undergraduate level. Those who have a broader art history background will have a better chance of being awarded teaching assistantships. Students without this requirement can be admitted, but they may be expected to make up the six courses in excess of the seventy-two units required for the degree. If there are questions concerning this requirement, check with the department.

Statement—Students are required to submit an essay of approximately three pages on the direction of their work and its relationship to contemporary art. This essay should be critical in nature, refer explicitly to the student's own work, and may refer to other artists, recent events in art history, and issues in domains other than art that have bearing on the student's process, thought, and work.

Work—Students are asked to submit documentation of their best work in a suitable format such as slides, videotape, film, diskettes, CD-ROMs, photographs, etc. These will be returned upon review of the application. It is necessary to include a self-addressed, stamped envelope for return of work.

Regular University Admission Policies

Please note that no application will be processed until all required information has been received. Students should submit applications with the application fee to the graduate admissions office on or before Friday, February 1, 2002. Portfolio, statement, letters of recommendation, and official transcripts should be sent directly to the department.

Requirements for the Degree

The M.F.A. is considered the terminal degree in studio work, and is a two- to three-year program. The following requirements must be completed in order to receive the M.F.A.:

First Year Review—This review takes place in the third quarter in residence. Students make a formal presentation of their work to a faculty committee; this includes a position paper and an oral examination. This presentation is considered a departmental examination, and if at its conclusion the student's work is judged to be inadequate, the student may be dismissed regardless of GPA, or may be reviewed again in the fourth quarter.

Seventy-two units of course work, including a four-unit apprentice teaching course, are required. Students may select sixteen of these units (four courses) from upper-division course offerings. (See listings in this catalog.) There are five required Visual Arts seminars:

• Introduction to Graduate Studies in the Visual Arts (VIS 200)
• Contemporary Critical Issues (VIS 201)
• Art Practice Seminar (VIS 202)
• Working Critique Seminar (VIS 203)
• one course in either Art Practice/Theory, or Advanced Theory/Criticism/History

Specific information on other course distribution requirements can be obtained from the department.

The M.F.A. Final Presentation

Presentation of Work—During the last quarter in residence, each student is required to present to the public a coherent exhibition or screening of his or her work.

Oral Examination—A committee of three Department of Visual Arts faculty members and one faculty member from another department will administer an oral examination to each student covering the student's work and its relationship to the field of art.

Thesis—Students are required to submit some form of written work for the M.F.A. degree. Four options are available:

1. Catalog—The student would design and have printed an actual catalog. This would include a critical essay of approximately 1,500 words.
2. Critical paper—The student would write a critical paper of 3,000 words analyzing his or her process and the relationship of his or her work to recent art history, with references to contemporary styles and specific artists.
3. Analytical essay on some phase of art—Students who have focused on both art production and art criticism would write a 3,000 word critical essay on any current art position. A brief discussion (750 words) of the student's work would also be included.
4. Critical thesis—Students whose emphasis is essentially criticism and who do not present an M.F.A. exhibition would write a forty- to fifty-page thesis–the topic to be decided by the student and his or her adviser.

Applications and additional information can be obtained from the graduate office of the Department of Visual Arts.

Courses

Note: The following list of courses represents all visual arts offerings; not all courses are offered each year.

Lower-Division

1. Introduction to Art-Making: Two-Dimensional Practices (4)
An introduction to the concepts and techniques of art making with specific reference to the artists and issues of the twentieth century. Lectures and studio classes will examine the nature of images in relation to various themes. Drawing, painting, found objects, and texts will be employed. Prerequisite: none. This course is offered only one time each year.

2. Introduction to Art Making: Motion and Time Based Art (4)
An introduction to the process of art making utilizing the transaction between people, objects, and situations. Includes both critical reflection on relevant aspects of avant-garde art of the last two decades (Duchamp, Cage, Rauschenberg, Gertrude Stein, conceptual art, happenings, etc.) and practical experience in a variety of artistic exercises. This course is offered only one time each year.

3. Introduction to Art-Making: Three-Dimensional Practices (4)
An introduction to art making that uses as its base the idea of the "conceptual." The lecture exists as a bank of knowledge about various art world and non-art world conceptual plays. The studio section attempts to incorporate these ideas into individual and group projects using any "material." This course is offered only one time each year.

20. Introduction to Art History (4)
This course examines history of Western art and architecture through such defining issues as the respective roles of tradition and innovation in the production and appreciation of art; the relation of art to its broader intellectual and historical contexts; and the changing concepts of the monument, the artist, meaning, style, and "art" itself. Representative examples will be selected from different periods, ranging from Antiquity to Modern. Content will vary with the instructor. Prerequisite: none.

21. Introduction to Non-Western Art (4)
This course offers a comparative and thematic approach to the artistic achievements and cultural productions of societies with widely divergent structure and political organization from the ancient kingdoms and empires of Central America and Asia to the tribes of Africa and the chiefdoms of Native American and Oceanic peoples. Topics vary with the interests and expertise of the instructor. Prerequisite: none.

22. Formations of Modern Art (4)
Wide-ranging survey introducing the key aspects of modern art and criticism in the nineteenth and twentieth centuries, including Neo-Classicism, Romanticism, Realism, Impressionism, Post-Impressionism, Symbo-lism, Fauvism, Cubism, Dada and Surrealism, Abstract Expressionism, Minimalism, Earth Art, and Conceptual Art. Prerequisite: none.

23. Information Technologies in Art History (4)
This seminar introduces fundamentals of art historical practice such as descriptive and analytical writing, compiling annotated bibliographies with traditional and online resources, defining research topics, and writing project proposals. Prerequisite: none.

Note: Prerequisite for VIS 112 and highly recommended for all other seminars. Must be taken within a year of declaring major or transferring into the art history program.

40. Introduction to Computing in the Arts (4)
(Cross-listed with ICAM 40.) An introduction to the conceptual uses and historical precedents for the use of computers in art making. Preparation for further study in the computer arts area by providing overview of theoretical issues related to the use of computers by artists. Introduces the students to the program's computer facilities and teaches them basic computer skills. Prerequisite: open to visual arts and ICAM majors and minors only. Materials fee required.

60. Introduction to Photography (4)
An in-depth exploration of the camera, combining darkroom techniques in black and white, and color photography. Emphasis is placed on developing reliable control of the fundamental materials and procedures through lectures, field, and lab experience. Basic discussion of image making included. Materials fee required.

70N. Introduction to Media (6)
Operating as both a lecture and production course, this introductory class provides a technical foundation and theoretical context for all subsequent production-oriented film and video studies. In the laboratory, the student will learn the basic skills necessary to initiate video production. Completion of Visual Arts 70N is necessary to obtain a media card. Prerequisite: none. Materials fee required.

84. History of Film (4)
A survey of the history and the art of the cinema. The course will stress the origins of cinema and the contributions of the earliest filmmakers, including those of Europe, Russia, and the United States. Materials fee required. This course is offered only one time each year.

90. Undergraduate Seminar (1)
This seminar will introduce undergraduate students, especially freshmen and sophomores, to a variety of issues and topics organized around the research interests of faculty members.

Upper-Division

104A. Performing the Self (4)
Using autobiography, dream, confession, fantasy, or other means to invent one's self in a new way, or to evoke the variety of selves in our imagination, the course experiments with and explores the rich possibilities available to the contemporary artist in his or her own persona. Prerequisites: two from VIS 1, 2, 3 and either 22 or 111.

104BN. Verbal Performance (4)
The course is designed to introduce the student to the part played by language in contemporary performance art. Monologues, musically derived sound poetry, vocalizations, verbally inscribed installations, and the uses of language and voice in film and video are some of the areas explored. Prerequisite: VIS 104A.

104CN. Personal Narrative (4)
The course will explore primary experiential materials to more fully understand the relationship of voice, style, language, and personality, to issues of memory, identity, self-awareness, and desire. Instructor and student will discuss student work as well as published personal narrative. Prerequisite: VIS 104BN.

105A. Drawing: Representing the Subject (4)
A studio course in beginning drawing covering basic drawing and composition. These concepts will be introduced by the use of models, still life, landscapes, and conceptual projects. Prerequisites: two from VIS 1, 2, 3 and either 22 or 111.

105B. Drawing: Practices and Genre (4)
A continuation of VIS 105A. A studio course in which the student will investigate a wider variety of technical and conceptual issues involved in contemporary art practice related to drawing. Prerequisite: VIS 105A.

105C. Drawing: Portfolio Projects (4)
A studio course in drawing, emphasizing individual creative problems. Class projects, discussions, and critiques will focus on issues related to intention, subject matter, and context. Prerequisite: VIS 105B.

106A. Painting: Image Making (4)
A studio course focusing on problems inherent in painting—transferring information and ideas onto a two-dimensional surface, color, composition, as well as manual and technical procedures. These concepts will be explored through the use of models, still life, and landscapes. Prerequisites: two from VIS 1, 2, 3 and either 22 or 111.

106B. Painting: Practices and Genre (4)
A continuation of VIS 106A. A studio course in which the student will investigate a wider variety of technical and conceptual issues involved in contemporary art practice related to painting. Prerequisite: VIS 106A.

106C. Painting: Portfolio Projects (4)
A studio course in painting emphasizing individual creative problems. Class projects, discussions, and critiques will focus on issues related to intention, subject matter, and context. Prerequisite: VIS 106B.

107A. Sculpture: Making the Object (4)
A studio course focusing on the problems involved in transferring ideas and information into three-dimensions. Course will explore materials and construction as dictated by the intended object. Specific problems to be investigated will be determined by the individual professor. Prerequisites: two from VIS 1, 2, 3 and either 22 or 111.

107B. Sculpture: Practices and Genre (4)
A studio course in which the student will investigate a wider variety of technical and conceptual issues as well as materials involved in contemporary art practice related to sculpture. Prerequisite: VIS 107A.

107CN. Sculpture: Portfolio Projects (4)
A studio course in sculpture emphasizing individual creative problems. Class projects, discussions, and critiques will focus on issues related to intention, subject matter, and context. Prerequisite: VIS 107B.

108. Advanced Projects in Art (4)
A studio course for serious art students at the advanced level. Stress will be placed on individual creative problems. Specific orientation of this course will vary with the instructor. Topics may include film, video, photography, painting, performance, etc. May be repeated twice for credit. Prerequisite: consent of instructor.

109. Advanced Projects in Media (4)
A production course for serious upper-division media students. Individual or group projects will be completed over one or two quarters. A specific project organized by the student(s) will be realized during this course, with the instructor acting as a close adviser and critic. Formal concept papers or scripts must be completed and approved by the instructor prior to enrollment. May be repeated twice for credit. Prerequisite: consent of instructor.

110A. Contemporary Issues and Practices (4)
An examination of contemporary studio art practice. The course is divided among research, discussion, and projects. Field trips to galleries and discussions with artists will combine with the students moving their work into a dialogue with the issues raised. Prerequisites: two from VIS 104CN, 105C, 106C, 107CN and 147B or consent of instructor.

110B. New Genre/New and Old Technologies (4)
Advances the idea of different materials, methods, and practices raised at the intermediate level in drawing, painting, and sculpture, and explores and utilizes new and traditional media in studio production of work. Emphasis on multiple media, combining traditional and electronic media, as well as different genres, in an attempt to create new directions for the student's ideas. Prerequisites: two from VIS 104CN, 105C, 106C, 107CN and 147B or consent of instructor.

110C. Proposals, Plans, Presentations (4)
Explores the use of the maquette, or sketch, in the process of developing, proposing and planning visual works in various media for public projects, site specific works, grants, exhibition proposals, etc. The student will work on synthesizing ideas and representing them in alternate forms that deal with conception, fabrication and presentation. Prerequisites: two from VIS 104CN, 105C, 106C, 107CN and 147B or consent of instructor.

110D. Visual Narrative/Tableau (4)
Examination and use of multi-media in exploring narrative issues in art making. The identification of subject leads to the determination of choice or mix of media and construction of narrative. Traditional studio practice surrounding narrative painting and sculpture, forms such as comic drawing or story boards, and the use of photo, video, and computing. Prerequisites: two from VIS 104CN, 105C, 106C, 107CN and 147B or consent of instructor.

110E. Art in Public Places/Site Specific Art (4)
The course attempts to take painting and sculpture, as well as related media, out of the studio/gallery and into the public sphere by examining the contemporary history of public artworks with traditional and non-traditional site-specific work. The course will focus on production as well as critical discussion and writing. Prerequisites: two from VIS 104CN, 105C, 106C, 107CN and 147B or consent of instructor.

110F. Installation: Cross-Disciplinary Projects (4)
Attempts to expand the idea contained in a singular work, or object, into the use of multiple objects, images, and media that redefines the idea as well as the space for which it is intended. Examination of historic, modern, and contemporary works would be brought into discussion of project development and execution. Prerequisites: two from VIS 104CN, 105C, 106C, 107CN and 147B or consent of instructor.

110G. The Natural and Altered Environment (4)
Explores the natural and altered environment as a basis for subject as well as placement of work pertaining to the environment. Prerequisites: two from VIS 104CN, 105C, 106C, 107CN and 147B or consent of instructor.

110H. Image and Text Art (4)
Devoted to the study and practice of the multiple ways in which writing and other forms of visible language have been incorporated into contemporary and traditional artworks, including artists' books, collaging and poster art, visual and concrete poetry, typographical experiments, and calligraphies. Prerequisites: two from VIS 104CN, 105C, 106C, 107CN and 147B or consent of instructor.

110I. Performing for the Camera (4)
The dematerialization of the performer into a media based image—video, film, slides, still photographs, using the camera as a spy, a co-conspirator, a friend or a foe—employing time lags, spatial derangement, image deconstruction, along with narrative, text, history, to invent time based pieces that break new ground while being firmly rooted in an understanding of the rich body of work done in this area over the last three decades. Prerequisites: two from VIS 104CN, 105C, 106C, 107CN and 147B or consent of instructor.

110J. Ritual Performance (4)
The course will explore forms of art making that use dream and myth, body art, dance, social drama, happenings, story telling, and enactments of contemporary and traditional forms of performance art that involve a crossing of the lines between different arts and genres. Prerequisites: two from VIS 104CN, 105C, 106C, 107CN and 147B or consent of instructor.

110K. Installation Performance (4)
The artist as performer working with materials, objects, props, technology, to create multi-layered, experimental, interesting three-dimensional art spaces in which the artist's body, voice, actions, or memory, moves through, enlivens, or haunts the physical space. Prerequisites: two from VIS 104CN, 105C, 106C, 107CN and 147B or consent of instructor.

110M. Studio Honors I (4)
An advanced studio course intended for the productive, motivated, and self-disciplined student with a clear and unified body of work. The intent is to help refine and expand the student's work and ideas towards an exhibition and verbal written position. Prerequisite: consent of the instructor. Note: The Studio Honors I and the attached Studio Honors II count as one course toward the fulfillment of a Group IV requirement.

110N. Studio Honors II (4)
The second advanced studio course in the Honors Program in Studio, the successful completion of which will lead towards an honors degree in the studio major. The course builds on the critical and technical issues raised in Studio Honors I. Prerequisite: VIS 110M.

111. The Structure of Art (4)
This course will address the structure of signification in art. We will consider the modes of signification in a wide range of representational and nonrepresentational artworks from architecture through drawing, painting, sculpture, photography, video, and film to performance. Examples will be selected from various places and epochs. This course is required for transfer students. This course is offered during winter quarter only.

112. Art Historical Methods (4)
A critical review of the principal strategies of investigation in past and present art-historical practice, a scrutiny of their contexts and underlying assumptions, and a look at alternative possibilities. The various traditions for formal and iconographic analysis as well as the categories of historical description will be studied. Required for all art history and criticism majors. Prerequisites: VIS 23 and one upper-division art history course; two recommended.

113AN. History of Criticism I: Early Modern (4)
Introducing Classical, Medieval, and Renaissance theories of the image, we concentrate on developments in the eighteenth and nineteenth centuries: Neo-Classicism, Romanticism, Realism, and Symbolism. Prerequisite: none; VIS 112 or two upper-division courses in art history strongly recommended.

113BN. History of Criticism II: Early Twentieth Century (1900–1950) (4)
The principal theories of art and criticism from Symbolism until 1945: formalism and modernism, abstraction, Surrealism, Marxism, and social art histories, phenomenology, existentialism. Prerequisite: none; VIS 112 or two upper-division courses in art history strongly recommended.

113CN. History of Criticism III: Contemporary (1950–Present) (4)
Recent approaches to the image in art history and visual culture: structuralism, semiotics, psychoanalysis, post-structuralism, post-modernism, feminism, post-colonialism, cultural studies. Prerequisite: none; VIS 112 or two upper-division courses in art history strongly recommended.

114. Art Criticism (4)
This course is intended to develop critical approaches to contemporary art. It will investigate contemporary forms of art criticism, stressing both traditional and alternate points of view. Outside field trips and critical writings will be assigned. May be repeated once for credit. Prerequisite: none; one upper-division modern art history course recommended.

117A. Narrative Structures (4)
How can a fixed image represent events in time? The strategies of storytelling and their consequences for the meaning of works of art will be investigated. Content of the course will vary. May be repeated twice for credit with permission of the instructor. Prerequisite: none; VIS 112 or two upper-division courses in art history strongly recommended.

117B. Theories of Representation (4)
A discussion of major Western theories of representation with a critique of their applicability to art. Material is drawn from a wide variety of historical periods from Antiquity to Modern. Emphasis is given to theories special significance for art history, but some attention is given to representation theories in other contexts. Readings may include selections from such modern theorists as Peirce, Panofsky, Gombrich, Bernheimer, Barfield, Barthes, Goodman, Foucault, Bryson, Summers, and Mitchell and from classic texts by Plato, Aristotle, John of Damascus, Alberti, and Leonardo. Prerequisite: none; one or more upper-division courses in art history strongly recommended. Note: Majors must have taken VIS 23.

117C. Art in Time: The Historical Dimensions (4)
How does a work of art live in time? What connects it with art past, present, and future? Where does tradition and innovation intersect? Why is past art always an issue for contemporary practice? This seminar considers these and other questions as well as different theoretical models for understanding art's historical dimension. Specific issues and readings may vary from year to year. Prerequisite: none; VIS 112 or two upper-division courses in art history strongly recommended.

117D. Portraiture (4)
Portraiture appeals to the human interest in human beings. This seminar explores how portraits from different periods (potentially ancient through modern) reflect cultural ideas about citizens even as they purport to convey actual appearances. Content may vary with instructor. Prerequisite: none; VIS 112 or two upper-division courses in art history strongly recommended.

117E. Problems in Ethnoaesthetics (4)
This seminar will address and critique various approaches to studying the art of non-Western societies with respect to their own aesthetic and cultural systems. Students are encouraged to explore comparative philosophies of art and test paradigms of Western aesthetic scholarship. Prerequisite: none; VIS 21 or 112 or two upper-division courses in art history strongly recommended.

120A. Greek Art (4)
Greek classical civilization was a turning point in the history of humanity. Within a new kind of society, the idea of the individual as free and responsible was forged, and with it the invention of history, philosophy, tragedy, and science. The arts which expressed this cultural explosion were no less revolutionary. The achievements of Greek art in architecture, sculpture, and painting will be examined from their beginnings in the archaic period, to their epoch-making fulfillment in the classical decades of the fifth century B.C., to their diffusion over the entire ancient world in the age of Alexander and his successors. Prerequisite: none; VIS 20 recommended.

120B. Roman Art (4)
Roman art was the "modern art" of antiquity. Out of their Italic tradition and the great inheritance of Greek classic and Hellenistic art, the Romans forged a new language of form to meet the needs of a vast empire, a complex and tumultuous society, and a sophisticated, intellectually diverse culture. An unprecedented architecture of shaped space used new materials and revolutionary engineering techniques in boldly functional ways for purposes of psychological control and symbolic assertion. Sculpture in the round and in relief was pictorialized to gain spatial effects and immediacy of presence, and an extraordinary art of portraiture investigated the psychology while asserting the status claims of the individual. Extreme shifts of style, from the classicism of the age of Augustus to the expressionism of the third century A.D., are characteristic of this period. The new modes of architecture, sculpture, and painting, whether in the service of the rhetoric of state power or of the individual quest for meaning, were passed on to the medieval and ultimately to the modern West. Prerequisite: none; VIS 20 recommended.

120C. Late Antique Art (4)
During the later centuries of the Roman Empire, the ancient world underwent a profound crisis. Beset by barbarian invasions, torn by internal conflict and drastic social change, inflamed with religious passion which was to lead to a transformed vision of the individual, the world, and the divine, this momentous age saw the conversion of the Roman world to Christianity, the transfer of power from Rome to Constantinople, and the creation of a new society and culture. Out of this ferment, during the centuries from Constantine to Justinian, there emerged new art forms fit to represent the new vision of an otherworldly reality: a vaulted architecture of diaphanous space, a new art of mosaic which dissolved surfaces in light, a figural language both abstractly symbolic and urgently expressive. The great creative epoch transformed the heritage of classical Greco-Roman art and laid the foundations of the art of the Christian West and Moslem East for the next thousand years. Prerequisite: none; VIS 20 or 120B recommended.

120D. Prehistoric Art (4)
Tens of thousands of years before the dawn of history, the hunting peoples of Ice Age Europe invented the first language of visual images. Their painted cave sanctuaries, such as Lascaux and Altamira, are dazzling in their expressive vitality and mystifying in meaning. This course link cave art with what is known about contemporary conditions of nature, society, and human life. Prerequisite: none; VIS 20 recommended.

121AN. The Idea of Medieval Art (4)
This course introduces the art and architecture of Western Europe from the fourth through the thirteenth centuries. A leading theme is the changing idea of what "medieval" has come to mean, from the coining of the terms "Middle Ages" and "Dark Ages" by Renaissance humanists, to the Romantic fascination with Gothic ruins, and finally to the fantasy medievalisms of twentieth century popular culture and current approaches to medieval art in art historical scholarship. Prerequisite: none; VIS 20 recommended.

121B. Castles, Cathedrals, and Cities (4)
Art production in Western Europe from the twelfth through the fourteenth centuries flowed from three principal centers of creative activity—the castle, the cathedral, and the city—which gave visible form to the interests and values of competing segments of medieval society. This course explores the art and architecture of these three centers in the context of the rituals of chivalry, church, and civic life that made a dazzling spectacle of art and life in the High Middle Ages. Prerequisite: none; VIS 20 recommended.

121C. Art and Gender in the Middle Ages and Renaissance (4)
This seminar explores how different representational traditions involving women and men reflected but also contributed to the formation of period beliefs about gender difference. It also considers the differential roles of women and men as producers and patrons of art and period expectations and practices involving male and female spectatorship. Specific content may vary from year to year. Prerequisite: none; VIS 112 or two upper-division courses in art history strongly recommended.

121D. The Illuminated Manuscript in the Middle Ages (4)
This seminar charts the changing pictorial problematics presented by the illuminated manuscript from its origins in late antiquity to the disintegration of the manuscript tradition under the impact of the first printed books. Works such as the Book of Kells and the Tres Riches Heures of the Duke of Berry, among the most brilliant achievements of Western painting, are among those considered. Prerequisite: none; VIS 112 or two upper-division courses in art history strongly recommended.

121E. Pursuit of the Millennium (4)
(Cross-listed with HIEU 115) The year 2000 provokes questions about the transformation of time, culture, and society. Taking the year 1000 as a touchstone, this class examines the history of apocalyptic expectations in the Middle Ages through a close scrutiny of both texts and art. Prerequisite: none.

122AN. Renaissance Art (4)
Italian artists and critics of the fourteenth through sixteenth centuries were convinced that they were participating in a revival of the arts unparalleled since Antiquity. Focusing primarily on Italy, this course traces the emergence in painting, sculpture and architecture, of an art based on natural philosophy, optical principles, and humanist values, which embodied the highest intellectual achievement and deepest spiritual beliefs of the age. Artists treated include Giotto, Donatello, Masaccio, Brunelleschi, Jan van Eyck, Mantegna, Botticelli, Leonardo da Vinci, Michelangelo, Raphael, Bramante, Durer, and Titian. Prerequisite: none; VIS 20 recommended.

122BN. Vision, Belief, and Civic Virtue: Italian Art of the Early Renaissance (4)
Spurred by a renewed interest in Antiquity, a coterie of artists working with Donatello and Brunelleschi in Florence forged a new language of art that defined the character and possibilities for painting, sculpture, and architecture for centuries to come. This lecture course analyzes the contributions of artists such as Masaccio, Mantegna, Alberti, Piero della Francesca, Bellini, and Botticelli to emergence of the artist as intellectual, the conceptualization of the statue and the monument, the development of pictorial perspective, the theorization of artist practice, and the expanded role of images in urban and religious life. Prerequisite: none; VIS 20 or 122AN recommended.

122CN. Defining High Renaissance Art (4)
Since the sixteenth century, the names of Leonardo da Vinci, Raphael, and Bramante have conjured up images of the highest artistic achievement. This course shows the intellectual concerns common to the artist and scientific productions of Leonardo help illuminate the distinctive character of the art of two of his greatest contemporaries. Prerequisite: none; VIS 20, 122AN, or 122BN recommended.

122D. Michelangelo (4)
This course offers new approaches to understanding Michelangelo's greatest creations. By considering how each work relates to the setting for which it was intended, by regarding critical literature and artistic borrowings as evidence about the works, and by studying the thought of the spiritual reformers who counseled Michelangelo, new interpretations emerge which show the artist to be a deeply religious man who invested his works with both public and private meanings. Prerequisite: one upper-division course in Renaissance art; VIS 112 or 122CN recommended.

122E. The City in Italy (4).
(Cross-listed with HIEU 124.) Each Italian city takes pride in having a style and history all its own. This lecture course, usually taught in conjunction with the history department's HIEU 124, considers various approaches to and models for understanding the social, political, economic, and artistic fabric of such renowned medieval and Renaissance cities as Rome, Florence, Venice, Naples, Milan, and Sienna. Content varies from year to year. May be repeated three times for credit. Prerequisite: none; an upper-division course in Pre-Modern or Early Modern art history or Pre-Modern or Early Modern European history is strongly recommended. Note: May be used to fulfill the seminar requirement for art history majors.

123AN. Between Spirit and Flesh: Northern Art of the Early Renaissance (4)
The art of the Early Renaissance in Northern Europe is marked by what appears to be striking conflict: on the one hand, a new love of nature and of the pleasures of court society; and on the other, an intensified spirituality and focus on personal devotion. This course explores these provocative cross-currents in works by master painters like Jan van Eyck and Hieronymous Bosch as well as in lesser known mass-produced objects of everyday use. Prerequisite: none; VIS 20, 121AN, and/or 122AN recommended.

123BN. Jan van Eyck (4)
Intensive study of the career of Jan van Eyck, whose magical paintings have always fascinated viewers with their microscopically detailed naturalism and subtly disguised spiritual meanings. Masterpieces such as the "Arnolfini Wedding" are emphasized. Prerequisite: none; VIS 112 or two upper-division courses in art history recommended.

123CN. Early Print Culture: The First Media Revolution (4)
During the fifteenth century, two inventions—printed pictures and books printed with moveable type—revolutionized both Western art making and information technologies. This seminar considers the conditions that made possible this "first media revolution," its immediate impact and its continuing resonances in early modern visual culture. Prerequisite: none; VIS 112 or two upper-division courses in art history recommended.

124AN. Baroque Art (4)
This course discusses the achievement of such major artists as Caravaggio, Gentileschi, Bernini, Borromini, Rubens, Rembrandt, Velasquez, and Vermeer within a culture marked by increasing intellectual specialization, the entrenchment of modern national boundaries, the co-existence of rival religious organizations, the formations of artistic academies, and the rise of an art market serving the flourishing middle class. Prerequisite: none; VIS 20 recommended.

124BN. Art and the Enlightenment (4)
Eighteenth century artists and critics were convinced that art could be a force to improve society. This course places Roccoco and Neo-Classical artists such as Watteau, Fragonard, Tiepolo, Hogarth, Reynolds, Vigee Lebrun, Blake, and David, within the context of art academies, colonialism, the Grand Tour, Enlightenment conceptualizations of history and nature, and the American and French Revolutions. Prerequisite: none; VIS 20 or 22 recommended.

124CN. Nineteenth Century Art (4)
A critical survey discussing the crisis of the Enlighten-ment, Romanticism, Realism and Naturalism, Academic Art and History Painting, representations of the New World, the Pre-Raphaelites, Impressionism, international Symbolism, Post-Impressionism, and the beginnings of Modernism. Prerequisite: none; VIS 20 or 22 recommended.

125A. Twentieth Century Art (4)
A critical survey outlining the major avant-gardes after 1900: Fauvism, Cubism, Metaphysical Painting, Futurism, Dada, Surrealism, Neo-Plasticism, Purism, the Soviet avant-garde, Socialist Realism, and American art before Abstract Expressionism. Prerequisite: none; VIS 20 or 22 recommended.

125BN. Contemporary Art (4)
Art after Abstract Expressionism: Happenings, Post-painterly Abstraction, Minimalism, Performance, Earth Art, Conceptual Art, Neo-Expressionism, Post-Conceptualism and development in the 1990s, including non-Western contexts. We also explore the relation of these tendencies to Postmodernism, Feminism, and ideas of Postcoloniality. Prerequisite: none; VIS 20 or 22 recommended.

125CN. Histories and Contexts of Conceptual Art (4)
A detailed exploration of the history, theories, and social contexts of the Conceptual Art movement from mid-1960s to the 1980s. Artists/theorists discussed include Duchamp, Kosuth, Weiner, Baldessari, Barry, Piper, Darboven, Huebler, Art and Language, Beuys, Holzer, and Neo-Conceptualism. Prerequisite: none; VIS 20 or 22 recommended.

125DN. Marcel Duchamp (4)
A critical examination of the work of one of the most radical twentieth century artists. In Duchamp's four dimensional perspective, the ideas of art-object, artist, and art itself are deconstructed. The Large Glass and Etant Donnees . . . are the twin foci of an oeuvre without boundaries in which many twentieth-century avant-garde devices such as chance techniques, conceptual art, and the fashioning of fictive identities, are invented. Prerequisite: none.

125E. History of Performance Art (4)
The novel, perplexing, outrageous, and witty modes of performance by such contemporary artists as Acconci, Anderson, Antin, Beuys, Jonas, Kaprow, and Lacy will be examined in the critical framework of earlier twentieth-century experiments in music, theater, and dance as well as in the visual arts. The movements of futurism, dada and surrealism, the Russian avant-garde, the Bauhaus, abstract expressionism, and happenings provide antecedents for performance art. So do the fields of anthropology, sociology, and psychology as well as the theater practices and theories of Artaud, Brecht, Piscator, Meyerhold, and Stanislavsky, and the experimental dance of Duncan, Wigman, Laban, Graham, Cunningham, and Rainer. Prerequisite: none.

126AN. Pre-Columbian Art of Ancient Mexico and Central America (4)
An introduction to the cities and monuments of the ancient civilizations which flourished in Mexico and Central America before the Spanish Conquest. This course will cover the major cultures of Mesoamerica, including the Olmec, Aztec, and neighboring groups. Prerequisite: none; VIS 21 recommended.

126BN. The Art and Civilization of the Ancient Maya (4)
This course offers a history of Maya society from its formative stages to the eve of the Spanish Conquest through an investigation of its art and archeology. Special attention is given to its unique calendar and writing systems. Prerequisite: none; VIS 21 recommended.

126CN. Art of the North American Indians (4)
This course discusses the artistic legacy and cultural diversity of the ancient, historic, and surviving Native American people of the United States and Canada. Prerequisite: none; VIS 21 recommended.

126DN. African and Afro-American Art (4)
The dynamic, expressive arts of selected West African societies and their subsequent survival and transformation in the New World will be studied. Emphasis will be placed on Afro-American modes of art and ceremony in the United States, Haiti, Brazil, and Suriname. Prerequisite: none; VIS 21 recommended.

126E. Oceanic Art (4)
An examination of the relation of art to ritual life, mythology, and social organization in the native Polynesian and Melanesian cultures of Hawaii, New Guinea, the Solomon Islands, and Australia. Prerequisite: none; VIS 21 recommended.

126F. Western and Non-Western Rituals and Ceremonies (4)
This course will examine the process of image-making within specific ceremonies and/or rituals. Selected ceremonies from West Africa, Melanesia, Nepal, and the United States, including both Christian and non-Christian imagery, will be considered. Performance art and masquerade will be analyzed within a non-Western framework. Prerequisite: none; VIS 21 recommended.

126G. Problems in Mesoamerican Art History (4)
Topics of this seminar will address special problems or areas of research related to the major civilizations of ancient Mexico and Central America. Course offerings will vary in order to focus upon particular themes, subjects, or interpretive problems. Prerequisite: none; VIS 21 recommended.

126H. Problems in Ancient Maya Iconography and Inscriptions (4)
This seminar focuses upon the art, architecture, and inscriptions of the ancient Maya. Topics will vary within a range of problems that concern hieroglyphic writing, architecture, and visual symbols the Maya elite used to mediate their social, political, and spiritual worlds. Prerequisite: none; VIS 21 recommended.

127A. Curatorial Practices Workshop (2)
Students will be exposed to the professional context of institutional art research, preparation, exhibition, and publication. The content of the course will revolve around the curatorial experience of a particular faculty member. May be repeated once for credit. Prerequisite: VIS 112 or two upper-division courses in art history. Note: Two two-unit curatorial practices workshop courses count as one course towards the fulfillment of a Group III elective requirement in the major.

128AN-EN. Topics in Art History and Theory
These lecture courses are on topics of special interest to visiting and permanent faculty. Topics vary from term to term and with instructor and many will not be repeated. These courses fulfill upper-division distribution requirements. As the courses under this heading will be offered less frequently than those of the regular curriculum, students are urged to check for availability and descriptions of these supplementary courses in the annual catalogue listings. Like the courses listed under VIS 129, below, the letters following the course number designate the general area in which the courses fall. Students may take courses with the same number but of different content, with consent of instructor and/or program adviser. May be repeated three times for credit. Prerequisite: none; courses in art history recommended.

128AN. Topics in Pre-Modern Art History (4)
A lecture course on a topic of special interest in ancient or medieval art.

128BN. Topics in Early Modern Art History (4)
A lecture course on a topic of special interest in Renaissance or Baroque art.

128CN. Topics in Modern Art History (4)
A lecture course on a topic of special interest on Modern or Contemporary art.

128DN. Topics in Non-Western Art History (4)
A lecture course on a topic of special interest in Pre-Columbian, Native American, Oceanic, Asian, or African art.

128EN. Topics in Art Theory and Criticism (4)
A lecture course on a topic of special interest in art theory, art criticism, or the history of literature on art.

129AN-EN. Special Problems in Art Criticism and Theory (4)
These seminar courses provide the opportunity for in-depth study of a particular work, artist, subject, period, or issue. Courses offered under this heading may reflect the current research interests of the instructor or treat a controversial theme in the field of art history and criticism. Active student research and classroom participation are expected. Enrollment is limited and preference will be given to majors. The letters following 129 in the course number designate the particular area of art history or theory concerned. Students may take courses with the same number but of different content more than once for credit, with consent of the instructor and/or the program adviser. May be repeated three times for credit. Prerequisite: VIS 112 or two upper-division courses in art history.

129AN. Special Problems in Pre-Modern Art History (4)
A seminar on an advanced topic of special interest in ancient or medieval art.

129BN. Special Problems in Early Modern Art History (4)
A seminar on an advanced topic of special interest in Renaissance or Baroque art.

129CN. Special Problems in Modern Art History (4)
A seminar on an advanced topic of special interest in Modern or Contemporary art.

129DN. Special Problems in Non-Western Art History (4)
A seminar on an advanced topic of special interest in Pre-Columbian, native American, oceanic, Asian, or African art.

129EN. Special Problems in Art Theory and Criticism (4)
A seminar on an advanced topic of special interest in art theory, art criticism, or the history of literature on art.

129G. Art History Honors Seminar (4)
This research seminar, centered on a series of critical, thematic, theoretical, and/or historical issues that cut across subdisciplinary specializations, provides outstanding advanced students with the opportunity to undertake graduate-level research. The first part of a two-part sequence completed by Art History Honors Directed Group Study (VIS 129H). Prerequisite: consent of instructor or art history faculty adviser. Note: The Art History Honors Seminar and the attached Art History Honors Directed Group Study counts as one course towards the fulfillment of the Group III requirement.

129H. Art History Honors Directed Group Study (4)
The second part of the honors program sequence, this course provides a forum for students engaged in research and writing to develop their ideas with the help of a faculty adviser and in conjunction with similarly engaged students. Prerequisite: consent of instructor or art history faculty adviser.

130. Special Projects in Visual Arts (4)
Specific content will vary each quarter. Areas will cover expertise of visiting faculty. May be repeated twice for credit. Prerequisite: consent of instructor.

131. Special Projects in Media (4)
Specific content will vary each quarter. Areas will cover expertise of visiting faculty. May be repeated twice for credit. Prerequisite: consent of instructor.

132. Installation Production and Studio (4)
The artist transformation of physical space often incorporates many media simultaneously: drawing, painting, sculpture, photography, film, video, computing, and performance. Through discussions and readings, the class will examine the issues and aesthetics of installation art making. Using media familiar to them, students will produce several projects. May be repeated once for credit. Prerequisites: VIS 1 or 2 or 3, 22 and 111. Note: Open to all upper-division studio and media majors.

140. Digital Imaging: Image and Interactivity (4)
(Cross-listed with ICAM 101.) This introduction to the digital image involves images, texts, and interactive display, and operates both within a computer mediated space (i.e., Web site) and in physical space (i.e., artist book). Interactive narrative and computer programming are explored. Prerequisite: VIS 40/ICAM 40. Note: Materials fee required.

141A. Computer Programming for the Arts I (4)
The use of computer programming as a tool and conceptual framework for art making will be explored. The course will use Silicon Graphics workstations to teach fundamental aspects of using the C programming language and the UNIX operating system to create computer graphics, audio, and text-based works. Portfolio required for admission. Prerequisites: VIS 40/ICAM 40, and 140/ICAM 101, department stamp required. Note: Materials fee required.

141B. Computer Programming for the Arts II (4)
Continuation of VIS 141A, where students extend their programming capabilities to include such areas as image processing, multimedia, and interactive 3-D graphics programming contextualized by a further exploration of topics in algorithmic and procedural modeling. Portfolio required for admission. Prerequisite: VIS 141A/ICAM 102. Note: Materials fee required.

145A. Digital Media I: Time, Movement, Sound (4)
(Cross-listed with ICAM 102.) As an exploration of time dependent media components, this course will deal with the creation and manipulation of digital sound as well as moving images and their integration in multimedia work. Use of computer programming to control time is emphasized. Portfolio required for admission. Prerequisite: VIS 40/ICAM 40 and VIS 140/ICAM 101. Note: Materials fee required.

145B. Digital Media II (4)
Second course in the sequence where students will implement projects under direction of faculty. Projects will involve interactive narrative media and can include such things as Internet-based publishing (i.e., Web site), distributable media (i.e., CD-ROM), or computer-based interactive environment (i.e., virtual reality). Portfolio required for admission. Prerequisite: VIS 145A. Note: Materials fee required.

147A. Electronic Technologies for Art I (4)
Develop artworks and installations that utilize digital electronics. Techniques in digital electronic construction and computer interfacing for interactive control of sound, lighting and electromechanics. Students will construct devices which can responsively adapt artworks to conditions involving viewer participation, space activation, and machine intelligence. Portfolio required for admission. Prerequisite: VIS 1. Note: Purchase of components kit required.

147B. Electronic Technologies for Art II (4)
A continuation of the electronics curriculum where students will design programmable microcontroller systems for creating artworks that are able to respond to complex sets of input conditions, perform algorithmic and procedural processing and generate real time output. Portfolio required for admission. Prerequisite: VIS 147A. Purchase of components kit required.

149. Seminar in Contemporary Computer Topics (4)
(Cross-listed with ICAM 130.) Treats selected topics drawn from a broad variety of subjects relevant to computer-based art and music making, such as computer methods for making art and music, the design of interactive systems, spatialization of visual and musical elements, and critical studies. Topics will vary. May be repeated five times for credit. Portfolio required for admission. Prerequisites: VIS 140/ICAM 101; VIS 145A/ICAM 102 and ICAM 103/MUS 170 recommended. Note: Materials fee required.

150. History and Art of the Silent Cinema (4)
An investigation of silent films from early cinema (so called "primitive cinema") to the development of a classical style of filmmaking in the late teens and twenties. The course will explore issues of spectatorship, analyze differences between American and European cinema, and link thematic and economic histories with cultural studies, with an emphasis on the interaction between film and other visual arts of the period in Europe, Russia, and the United States. Materials fee required. Prerequisite: VIS 84 or consent of instructor.

151. History of the Experimental Film (4)
An inquiry into a specialized alternative history of film, consisting of experimental works made outside the conventions of the movie industry and which in their style and nature are closer to modernist painting, poetry, etc., than to the mainstream theatrical cinema. Works by such film artists as Man Ray, Salvador Dali, Maya Deren, Stan Brakhage, and Michael Snow will be examined in depth. Materials fee required. Prerequisite: VIS 84 or consent of instructor.

152. Film in Social Context (4)
This collection of courses gathers, under one cover, films that are strongly marked by period, geography, and the culture within which they received their dominating local quality. These courses pay particular attention to the stamp of place—climate, dress, habitation, language, music, politics—as well as the filmic moves that helped color such works as environmental. The series takes in the following subjects: Third World films, the Munich films (the new wave of Germans who made their first features in Munich following 1967), Japanese movies, films of the American thirties and their relationship to current thought, American Westerns, Ethnographic Film, Brazil's Cinema Novo, etc. Specific topics to be covered will vary with the instructor. May be repeated twice for credit. Materials fee required. Prerequisite: VIS 84 or consent of instructor.

153. The Genre Series (4)
A group of related courses exploring the conventions within such generic and mythic forms as the cowboy, shamus, chorus girls, and vampire films. May be repeated twice for credit. Materials fee required. Prerequisite: none; VIS 84 recommended.

154. Hard Look at the Movies (4)
Examines a choice of films, selected along different lines of analysis, coherent within the particular premise of the course. Films are selected from different periods and genres among Hollywood, European, and Third World films. May be repeated once for credit. Materials fee required. Prerequisite: VIS 84 or consent of instructor.

155. The Director Series (4)
A course that describes the experiences, looks, and structure of director-dominated films. A different director will be studied each quarter. The student will be required to attend the lecture in the course and to meet with the instructor at least once each week. May be repeated three times for credit. Materials fee required. Prerequisite: VIS 84 or consent of instructor.

156. Film Analysis of the Visuals (2)
An examination of a selection of films along difference lines of analysis to be taken with VIS 84, 150, 151, 152, 153, 154, and 155. This course will specialize in the study of the visuals of film with specific topics selected by the instructor and varying each quarter. Film analysis will cover a wide range of films, from silent, alternative experimental, films dominated by social context and place in history to special genre and director-dominated films. May be repeated twice for credit. Prerequisites: none; VIS 84, 150, 151, 152, 153, 154, or 155 recommended. Note: May not be taken in lieu of a course for majors and minors. Pass/Not Pass grades only.

157. Video History and Criticism (4)
A lecture course that examines video as an art form, its relationship to the development from television and other art forms, and surveys current work in the medium. Materials fee required. Prerequisites: VIS 22, 84, and 111.

158. Histories of Photography (4)
Photography is so ubiquitous a part of our culture that it seems to defy any simple historical definition. Accordingly, this course presents a doubled account of the medium; it explores both the historical and cultural specificity of a singular photography as well as some of the multitude of photographies that inhabit our world. Will examine a number of the most important photographic themes from the past 200 years. Prerequisite: none.

159. History of Art and Technology (4)
(Cross-listed with ICAM 150.) Aims to provide historical context for computer arts by examining the interaction between the arts, media technologies, and sciences in different historical periods. Topics vary (e.g., Renaissance perspective, futurism and technology, and computer art of the 1950s and 1960s). Prerequisite: none. Note: Materials fee required.

164. Photographic Strategies (4)
An introduction to the aesthetic problems in photography. Portfolio required for admission. Materials fee required. Prerequisites: VIS 60 and consent of instructor.

165. Camera Techniques (4)
An intermediate course involving refined control over different films, developers, papers, and other photographic techniques. Portfolio required for admission. Materials fee required. Prerequisites: VIS 60 and consent of instructor.

166. Advanced Camera Techniques (4)
An advanced-level course involving new techniques and processes as well as refined control over different films, developers, papers, and other photographic materials. Portfolio required for admission. Materials fee required. Prerequisites: VIS 60, 164, 165, and consent of instructor.

172. Studio Video (4)
A production course of video as a creative medium and the video studio as a production and post-production tool. Covers lighting, studio sound, the switcher and special effects, directing and editing in the controlled environment of the video studio. Prerequisites: VIS 111 and 174, department stamp required.

174. Media Sketchbook (4)
Video medium is used in this class both as a production technology and also as a device to explore the fundamental character of filmmaking and time-based computer art practices. Students perform all aspects of production with particular attention to developing ideas and building analytical and critical skills. Prerequisites: VIS 70N, department stamp required.

176. Introduction to Filmmaking (4)
Designed as an introduction to filmmaking, this course provides a technical foundation as well as a creative and theoretical context to 16mm film production. The student learns the use of motion picture camera (Bell & Howell, Bolex and Arriflex S), use of lightmeter, frame composition, sound recording, picture and sound editing. The course exposes the extent of the filmmaking process from shooting, lighting, to editing and mixing. Student to produce a short film (one to two minutes) with a post synchronized sound track. Prerequisites: VIS 174; VIS 60 and 177 recommended, department stamp required.

177. Scripting and Editing Strategies (4)
The aim of this course is to examine the conceptual rather than technical structures of scripting and editing. The emphasis for script writing will be on the reading and analysis of both traditional and more experimental works. Students will be expected to write several short scripts. Editing will be approached as a structural partner to scripting, studying the strategies and grammars that shape a film or videotape. Based on works available for study, students will produce analytical papers. Prerequisites: VIS 70N and 174, department stamp required.

180A. Generating the Narrative I (4)
An exploration of storytelling techniques through a series of short (five minutes in length) exercises, this course will familiarize the students with the mechanisms of narrative by teaching them how to construct a scene and to build sequences by the assembling of scenes. Collective work in group of four or five students will be encouraged. Prerequisites: VIS 111, 174 and one from VIS 140, 141A, 141B, 145A, 145B, 164, 165, 172, 176, 177; VIS 177 strongly recommended.

180B. Generating the Narrative II (4)
Continuation of VIS 180A. This class explores narrative structure. Students will be to produce a fifteen- to thirty-minute narrative. The emphasis will be on fiction. Collective work will be encouraged. Prerequisite: VIS 180A.

181. Sound and Lighting (4)
An advanced course aimed at gaining a sophisticated control of lighting and sound-recording techniques with the understanding of their theoretical implications and the interrelation between production values and subject matter. The interrelation between sound and image in various works (film, video, or installations) will also be discussed. Lighting principles like modelling, matching lights, and continuity lighting will be demonstrated in class. Sound characteristics like perspective, distance, and presence will be presented with rerecording and the construction of a mix sound track. Prerequisites: VIS 174 and three of the following courses, depending on emphasis: VIS 164, 165, 172, 176, 177.

182. Advanced Editing (4)
Covering both film and video editing, this course is designed to study the problems of editing from both a theoretical and practical point of view. Films and tapes will be analyzed on a frame-by-frame, shot-by-shot basis. Course may be repeated twice for credit. Prerequisites: two from Vis 164, 165, 172, 176, 177; VIS 177 strongly recommended.

186. Advanced Filmmaking Strategies (4)
Designed as the second part of a two-part sequence, this course presents the techniques of sync sound recording and shooting, crew work, planning preproduction and production, and links technical decisions with creative and theoretical understanding of film production. The student will prepare, produce and edit a short 16mm film (three to five minutes). It is recommended that the student have, at the beginning of the quarter, a fully developed script for the final project. Prerequisites: VIS 176, 177, and consent of instructor.

194. Fantasy in Film (4)
This course will explore the path of the deliberately "unreal" in movies. Fantasy in Film will be considered both in terms of its psychological manifestations and also in terms of imaginary worlds created in such willfully anti-realistic genres as science-fiction, horror, and musical films. Prerequisite: none. Offered in summer session only.

197. Media Honors Thesis (4)
This advanced-level sequence coordinates three consecutive independent research courses to culminate in a completed thesis project in the third quarter of study. After the project's public presentation, the faculty involved in the project will determine whether the student will graduate with departmental honors. Prerequisite: consent of instructor. Note: Requires a written proposal, 3.5 GPA in the major, prior consent from all involved and approvals by the department chair and provost.

198. Directed Group Study (2-4)
Directed group study on a topic or in a group field not included in regular department curriculum, by special arrangement with a faculty member. Prerequisite: consent of instructor. Note: Open only to upper-division students. Requires instructor's, department chair's, and provost's approval. Pass/Not Pass grades only.

199. Special Studies in the Visual Arts (4)
Independent reading, research, or creative work under direction of a faculty member. Prerequisite: consent of instructor. Note: Open only to upper-division students. Requires instructor's, department chair's, and provost's approval. Pass/Not Pass grades only.

ICAM 103. Musical Acoustics (4)
(Cross-listed with MUS 170.) An introduction to the acoustics of music with particular emphasis on contemporary digital techniques for understanding and manipulating sound. Prerequisites: MUS 1A, 2A, or 4

ICAM 110. Computing in the Arts: Current Practice (4)
Designed around the presentations by visiting artists, critics, and scientists involved with contemporary issues related to computer arts. Lectures by the instructor and contextual readings provide background material for the visitor presentations. Prerequisite: none. Note: Materials fee required.

ICAM 120. Virtual Environments (4)
Students will create virtual reality artworks in this course. Projects may be done individually or in groups. An exploration of the theoretical issues involved will underlie the acquisition of techniques utilized in the construction of virtual realities. Portfolio required for admission. Prerequisites: ICAM 102/VIS 145A; CSE 11 recommended. Note: Materials fee required.

ICAM 160A-B. Senior Project in Computer Arts (4-4)
Students will pursue projects of thier own design over two quarters with support from faculty in a seminar environment. Collaborations are possible. Portfolio required for admission. Prerequisites: ICAM 101/VIS 140, ICAM 102/VIS 145A, ICAM 103/MUS 170, ICAM 110, and senior standing.

ICAM 199. Special Studies (2/4)
Independent reading, research or creative work under direction of faculty member. Prerequisites: department stamp and upper-division standing required.

Graduate

200. Introduction to Graduate Studies in the Visual Arts (4}
This seminar introduces students to the graduate program in a workshop environment. Emphasis is on the production of new work and on situating that work in relation to a larger art context. Offered every fall.

201. Contemporary Critical Issues (4)
An exploration of a range of issues important on the contemporary critical scene through readings and writing assignments. Topics will vary from year to year. Offered every fall.

202. Art Practice (4)
A workshop/seminar devoted to a particular materials practice (e.g., media, painting, digital media, etc.) that engages with critical questions arising within that discipline. Content will vary from quarter to quarter. May be repeated once for credit.

203. Working Critique (4)
Workshop in which students engage in an extensive evaluation of each others' ongoing work in preparation for either the First Year Review or MFA Review. Offered every winter. May be repeated once for credit.

210. Narrative (4)
Examination of narrative issues in contemporary art-making. Traditional and experimental narrative practices in painting, drawing, sculpture, and performance are explored alongside narrative strategies in media and digital media.

211. Fact and Fiction (4)
This seminar addresses the space between narrative work generated from a factual base and that generated from a fictional one. Special attention will be given to discussing work that confounds the assumed gap between the two.

212. History and Memory (4)
This seminar will engage the space between personal and larger histories. How is one's own past both intertwined with and determined by larger social histories?

213. Public Space (4)
An exploration of what public space is and how it operates, with a view toward an expanded context for considering how public artwork can operate within it. Included are areas such as mass media, activism, community action, computer networks, ecology, and alternative forums.

214. Intentionality (4)
An inquiry into the possibility and conditions of interpretation of works of art. What account should be taken of the intentions—conscious or otherwise—of their authors vs. the material circumstances and wider social and historical contexts of their making?

215. Human Interface (4)
Examines human interface as it informs or transforms how we read and participate in culture at large. Concepts such as subject/author/object relationships, abstraction, metaphor, analogy, visualization, and complexity are discussed to establish context.

216. The Object (4)
An investigation of the world of artifacts ("works of art" and others) and how they function as agents of communication and modifiers of consciousness. Contem-porary perspectives drawn from the fields of art theory, anthropology, contemporary art, and semiotics will be utilized.

217. Communities and Subcultures (4)
A critical examination of the practices of self-defined communities (e.g., Bauhaus, Shaker, Surrealists) which have attempted to change the social and spiritual quality of life by aesthetic means and of communities and subcultures defined by other means.

218N. Imaging Selves and Others (4)
Explores various strategies exhibited in a wide range of contemporary art practices engaging in the representation of personality, spirituality, and the physical self.

219. Special Topics in Art Practice/Theory (4)
Examines a topic of special interest to permanent and visiting faculty that is not addressed in the regular curriculum. As in other Art Practice/Theory seminars, students will both produce work and read and write critically about the topic. Topics will vary.

230N. Theories of Visual Culture (4)
This seminar will deal with the larger narratives which unite the various visual practices across the twentieth century. Efforts will be made to find similarities across seemingly disparate practices: painting, photography, performance, etc.

231. Contemporary Art (4)
Addresses current art practice and issues on the basis of art journals, gallery and museum shows and reviews, and visiting artist program talks, with the intent of placing students' own work in relation to contemporary dialogues.

232N. Theories and Histories of Media (4)
This seminar will focus on the intersecting histories of a variety of media practices: cinema, video, new technologies, etc.

233. Art, History, and Tradition (4)
Critical investigation of issues concerning artists' relation to the past (e.g., the mechanisms by which traditions are established and maintained, the relation between tradition and individual talent, appropriation) and to the place of art in its immediate historical context.

234. Concepts of Analysis (4)
Critical analysis and historical critique of central operative concepts and categories of art theory, criticism, and history, such as the artist, style, representation, genre, etc.

235. Studies in the History of Practice and Theory (4)
In-depth study of the relation of theory and practice in a given type of art practice, art movement, historical or cultural context; or in the work of an individual theorist/practitioner (e.g., Marcel Duchamp).

236N. Workshop in Critical Writing (4)
Practice in writing about art (both one's own and others) accompanied by analysis of selected contemporary critical writings.

250. Special Projects in Art Practice (4)
Advanced workshop in specialized areas of art practice (e.g., Sound and Lighting, Editing).

295. Individual Studies for Graduate Students (1-12)
Individual research with the student's individual faculty adviser in preparation for their comprehensive exhibitions for the M.F.A. degree. These units can only be taken after completing the First Year Review, and are intended to be with the chair of the student's review committee.

298. Directed Group Study (1-12)
Directed group study on specific topics not covered at present in the normal curriculum. Used as an experimental testing of courses that may be given regular course numbers if proved successful. Special arrangement with faculty member. Prerequisite: consent of department.

299. Graduate Research (1-4)
Graduate-level research under the direct guidance of a faculty member. Prerequisite: consent of instructor.