1: Collaboration, Introducing Interdisciplinary Studies, The Role of the Journal, Artist as Writer
*Kushner, Tony. "Is it a Fiction that Playwrights Create Alone?". Barron, Frank, et al., eds. Creators on Creating: Awakening and Cultivating the Imaginative Mind. New York: Jeremy P. Tarcher/Penguin, 1997.
*Warhol, Andy. "Work". The Philosophy of Andy Warhol (From A to B and Back Again). New York: Harcourt Brace & Company, 1975.
*Teague, Deborah. "Making Meaning--Your Own Meaning--When You Read". Bishop, Wendy, ed. The Subject is Reading. Portsmouth: Boynton/Cook, 2000.
*Tharp, Twyla. "I Walk into a White Room". The Creative Habit. New York: Simon & Schuster, 2003.
*play video of Tharp dance, from Cornish Library
*Ruscha, Ed. Excerpts from Leave Any Information at the Signal: Writings, Interviews, Bits, Pages. Schwartz, Alexandra, ed. Cambridge: MIT Press, 2002. pp. 384-429 (selection).
*put Ruscha books on reserve in Cornish Library
*Cage, John. "Composition as Process". Silence (Lectures and Writings by John Cage). Middletown, CT: Wesleyan University Press.
*Audio of Cage composition, on reserve in Cornish Library
[Tharp, Richter, Ruscha, and Cage as one reading project]
2. Boundaries and Intersections in the City: Seeing Green, Seeing Grey
*Robert Smithson image, see above
Floating Island To Travel Around Manhattan Island
Link to articles and images (on blog only) showing the realized project in 2005
*Calvino, Italo. Excerpts from Marcovaldo: or The Seasons in the City. New York: Harvest Books, 1983.
*Mowry, Jess. "One Way". Rats in the Trees. New York: Penguin Books, 1990.
*Rojas, James. "The Enacted Environment". Groth, Paul and Chris Wilson, eds. Everyday America: Cultural Landscape Studies after J.B. Jackson. Berkeley: Univ. of California Press, 2003.
*Klosterman, Chuck. "The Ice Planet Goth". Chuck Klosterman IV: A Decade of Curious People and Dangerous Ideas. New York: Scribner, 2007.
[pair Mowry, Rojas, and Klosterman together as one reading project]
3. Mapping your environment
*Kaiser, Ward L., and Denis Wood. Excerpts from Seeing Through Maps (The Power of Images to Shape Our World View). Amherst, MA: ODT, Inc.
*Harvey, P.D.A. From "The Map and Its History". Mappa Mundi: The Hereford World Map. Toronto: Univ. of Toronto Press, 1996.
*Lister, Raymond. Selected figures from Antique Maps and Their Cartographers. London: G. Bell and Sons, 1970.
*Buisseret, David. Selected figures from The Mapmaker's Quest: Depicting New Worlds in Renaissance Europe. New York: Oxford Univ. Press, 2003.
*Wood, Denis. "Two Maps of Boylan Heights". Harmon, Katherine, ed. You Are Here (Personal Geographies and Other Maps of the Imagination). New York: Princeton Architectural Press, 2004.
*Davis, Katie. "Memory Maps". Harmon, Katherine, ed. You Are Here (Personal Geographies and Other Maps of the Imagination). New York: Princeton Architectural Press, 2004.
*Turchi, Peter. Excerpts from Maps of the Imagination: The Writer as Cartographer. San Antonio: Trinity Univ. Press, 2004.
*Lamott, Anne. Bird by Bird (Some Instructions on Writing and Life). New York: Anchor Books, 1994.
*Iyer, Pico. "In Praise of the Humble Comma". Bishop, Wendy, ed. On Writing: A Process Reader. New York: McGraw-Hill, 2004.
*****
Post-charette
Naming the City, Remembering the City, Opening the City
*Calvino, Italo. Invisible Cities. New York: Harcourt Brace Jovanovich, 1974.
Orientation, or Moving through Rooms, Neighborhoods, Buildings, and Parks
*Calvino, Italo. "Park-bench vacation", from Marcovaldo: or The Seasons in the City. New York: Harvest Books, 1983.
*Featherstone, Steve. "Heads Up: Military Graffiti in Kuwait and Afghanistan". A Public Space. Brooklyn: A Public Space Literary Projects, Inc., Issue 5, December 2007. pp. 140-155.
*De Botton, Alain. Excerpts from The Architecture of Happiness. New York: Pantheon Books, 2006.
*Kazin, Alfred. Excerpt from A Walker in the City. New York: Harcourt Brace and Company, 1979.
*Lewis, Pierce. "The Monument and the Bungalow". Wilson, Groth, Paul and Chris Wilson, eds. Everyday America: Cultural Landscape Studies after J.B. Jackson. Berkeley: Univ. of California Press, 2003.
*Jackson, J.B. "The Past and Future Park". A Sense of Place, A Sense of Time. New Haven: Yale University Press, 1994.
Working in the City or, The Language of the Office: Office Culture, Office Spaces, Office Writing
*Baker, Nicholson. Excerpt from The Mezzanine. New York: Vintage Contemporaries, 1990.
*Koolhaas, Rem. "Generica". Mutations. Bordeaux: ACTAR, 2001.
*Mozingo, Louise A. "Campus, Estate, Park: Lawn Culture Comes to the Corporation". Wilson, Groth, Paul and Chris Wilson, eds. Everyday America: Cultural Landscape Studies after J.B. Jackson. Berkeley: Univ. of California Press, 2003.
Building through Seattle: Scaffolding, Containers, Atmosphere(s), Disorientation, Development and Loss
*Walker, Lester. American Shelter: An Illustrated Encyclopedia of the American Home. Woodstock: The Overlook Press, 1981.
*Buren, Daniel. "The Function of the Studio". Ulrich-Obrist, Hans and Barbara Vanderlinden, eds. Laboratorium. Antwerpen: Dumont, Promotie Antwerpen Open, 2001.
*Warhol , Andy. "Atmosphere". The Philosophy of Andy Warhol (From A to B and Back Again). New York: Harcourt Brace and Company, 1975.
*Mitchell, Susan. "Notes Toward a History of Scaffolding". D'Agata, John, ed. The Next American Essay. St. Paul: Graywolf Press, 2002.
*Ponge, Francis. Excerpts from Selected Poems. Winston-Salem: Wake Forest University Press, 1994.
*Dillard, Annie. Excerpt from The Living. New York: HarperCollins, 1992. pp. 156-167.
*Morgan, Murray. INSERT READING HERE from Tacoma Public Library Murray Morgan essay collection here
*Offenbacher, Matthew, et al., eds. La Especial Norte (zine). 2008.
Sunday, August 17, 2008
Course readings Fall 2008
Charrette reader in three sections:
Tuesday, August 5, 2008
Calendar Fall 2008
Week 1
Wed, 9/3: Introductions, syllabus reading.
Fri, 9/5:
Writing workshop. Collaborative project by discipline, mapping your discipline.
Readings: Warhol and Kushner pieces for discussion Monday, 9/8.
Week 2
Mon, 9/8: Discussion on disciplinary approaches to process/product, notetaking (see Warhol, Kushner). Cluster Course reader should be purchased from Perfect Copy and brought to class on Friday, 9/12.
Wed, 9/10: Discussion on studio practice, rehearsal. Introduce charrette, design teams (3-4 people, cross-disciplinary). Field work: Survey the block around Cornish, noting the community--who uses these spaces--and what are possible sites for interventions/insertions? How can artists use this space? Readings: Ruscha, Tharp, Cage for Monday. Bring examples of your journals.
Fri, 9/12: Charrette work-- choose route from MCC to Kerry and chart route (more on this in class).
Week 3
Mon, 9/15
Discussion on field work, Cage, Tharp, Ruscha readings. Play Cage audio in class.
Reading assignment in-class: Deborah Teague, “Making meaning as you read”.
Reading assignment for Wednesday: Jess Mowry, “One Way” from Rats in the Trees, James Rojas, "The Enacted Environment"
Wed, 9/17:
Writing workshop, responding to Rats in the Trees, The Enacted Environment. Reading assignment for Friday: Chuck Klosterman, "Something Wicked This Way Comes".
Fri, 9/19: Charette work,
Writing Center orientation 2:15- 3:00 pm.
Week 4
Mon, 9/22- Fri, 9/26
See Charette post
Week 5
Mon 9/29- Fri, 10/3
See Charette post
Week 6
Mon, 10/6
Student Affairs Orientation
Charrette Casebook due. See Charette post for details.
Wed 10/8
See Charette post for details
Fri 10/10
See Charette post for details.
Week 7
Mon, 10/13:
CLASS MEETING AT KERRY 218, Discussion on charrette projects, viewing/writing descriptions on Soundtransit installations on Broadway
Schedule Mid-term conferences, to take place during Week 8
Course evaluation for mid-term discussion during the next week
schedule reading timeline for Calvino's Invisible Cities,
Purchase Invisible Cities, as we will be utilizing this as our primary text for the next few weeks, followed by a course reader for the last few weeks of the course.
Excerpts from the book (think of this as a trailer) are here
Wed, 10/15
Discuss readings on maps, from Course Reader. Audio samples from Brian Eno (Music for Airports), Jackass, William Wegman-- discuss role of the audience in site-based works
Fri, 10/17
Library Orientation 2:30- 4:00 pm, class meeting at Cornish Library
Week 8
As both Monday and Wednesday of this week will be spent in small group conferences, you will be doing much of the work outside of the classroom. Two components that you will be responsible for during this time include reading Italo Calvino's Invisible Cities and writing in response to the work. For the writing, please consider and respond to the following:
Working from both the reading and your memories, describe at least three of the cities Marco Polo discusses with Khan, and compare to cities that you know, have visited, read about, or feel an affinity towards. What unites these disparate places? What differences do they exhibit? Who populates them? How do you navigate them? What is their character, and how does your writing reflect that character? Do you need to use different types of writing to give the sense of each different place? Is one city defined through poetry while another needs to be interviewed? When do you gain familiarity with a city? Can you trust a city?
M 10/20
Writing on charrette DUE,
Reading assignment: Italo Calvino, Invisible Cities
MID-TERM CONFERENCES AT KERRY HALL
W 10/22
Reading assignment: Italo Calvino, Invisible Cities
MID-TERM CONFERENCES AT MCC, 7TH FLOOR, FACULTY/STAFF LOUNGE
F 10/24
Cluster meeting with Erica Howard, Freeway Park. Links to articles on Freeway Park here
Week 9
M 10/27
Discussion on Invisible Cities
W 10/29
Discussion on Invisible Cities, visit Westlake Park
Fri 10/31
Field work: WATER TAXI TO ALKI. Writing prompt: Describe the journey using only words that you overhear along the way
Week 10
Mon 11/3
Calvino paper with revisions DUE, in-class peer response, discuss
Wed 11/5
Parks (continued): visit Seattle Times Park. In-class writing: Write a description/portrait of someone you passed on the street today. Then, give that description to another person in the class and ask them to make a drawing of that person (based exclusively on the description).
Fri 11/7
Class meeting at Federal Courthouse 2pm. Please remember -- no cameras, food, or drink. Also, you must present a picture I.D. (valid driver's license, state-issued identification, or passport). In-class writing: in every space that we pass through, write something as response.
Week 11:
Mon 11/10
Discussion on Federal Courthouse: Layout, writing responses--describe process for responding. Overview of course reader. Reading assignment: Graffiti piece (?) and Alain deBotton TBA
Describe Friday Volunteer Park field trip and plan itinerary on WEDNESDAY. Students to research and bring list. For this trip, I'd like to try a different format: instead of me leading/framing the experience, I'd like YOU to design what we should be taking from this experience, and examining aspects of the park that interest you, and maybe all of us.
What I'm proposing is this:
We meet at Kerry Hall, and depart (as a group) from there. You (and from here on out, I'll be referring to a collective "you") decide how we get to the park-- bus? walking? carpool?
Bring enough money for bus fare, museum entrance, other costs?
Once we arrive there, my suggestion is we sculpt a scavenger hunt, of sorts, with everyone contributing some places we should see while we're there. In part, this is to frame some of the ways I'd like us to move through the city next semester, but it also reflects the breadth of experiences available at Volunteer Park. Haven't been to Volunteer Park before? An introduction is here.
Wed 11/12
Parks: visit REI, Cascade Park, writing in comparison
Reading assignment (for Friday): TBA
Fri 11/14
Field work: Volunteer Park, as above.
Week 12
Mon 11/17
TBA, draft version below
Update this, but hold as general model: Shared class with Kim Mackay's group-- my class shares drafts of their writings on Volunteer Park with Kim's class, who act as mentors to my group-- providing analysis and feedback on the writing. The suggestions from Kim's class will be utilized in the next version, due Monday 11/24. For this version (keeping in mind that we will continue to work with this paper), please also consider the writings from the Course Reader II, and look for ways to synthesize your views with the views of Pierce Lewis, J.B. Jackson, Nicholson Baker, and Alain de Botton. For example, how does your view of the urban park differ from Jackson's?
Wed 11/19
DUE Draft #2/Synthesis paper on Volunteer Park/Course Reader II (parks). This writing should include your responses to writings by J.B. Jackson, located in the course reader. Discussion and analysis of Synthesis paper (from Kim's class) IN-CLASS. Discuss peer feedback from last week.
Fri 11/21
Columbia Tower, City Hall, Pioneer Square (time permitting).
Audio descriptions-- what did you hear during the journey?
Week 13
Mon, 11/24
Discussion on Fri 11/21 field work
Wed, 9/3: Introductions, syllabus reading.
Fri, 9/5:
Writing workshop. Collaborative project by discipline, mapping your discipline.
Readings: Warhol and Kushner pieces for discussion Monday, 9/8.
Week 2
Mon, 9/8: Discussion on disciplinary approaches to process/product, notetaking (see Warhol, Kushner). Cluster Course reader should be purchased from Perfect Copy and brought to class on Friday, 9/12.
Wed, 9/10: Discussion on studio practice, rehearsal. Introduce charrette, design teams (3-4 people, cross-disciplinary). Field work: Survey the block around Cornish, noting the community--who uses these spaces--and what are possible sites for interventions/insertions? How can artists use this space? Readings: Ruscha, Tharp, Cage for Monday. Bring examples of your journals.
Fri, 9/12: Charrette work-- choose route from MCC to Kerry and chart route (more on this in class).
Week 3
Mon, 9/15
Discussion on field work, Cage, Tharp, Ruscha readings. Play Cage audio in class.
Reading assignment in-class: Deborah Teague, “Making meaning as you read”.
Reading assignment for Wednesday: Jess Mowry, “One Way” from Rats in the Trees, James Rojas, "The Enacted Environment"
Wed, 9/17:
Writing workshop, responding to Rats in the Trees, The Enacted Environment. Reading assignment for Friday: Chuck Klosterman, "Something Wicked This Way Comes".
Fri, 9/19: Charette work,
Writing Center orientation 2:15- 3:00 pm.
Week 4
Mon, 9/22- Fri, 9/26
See Charette post
Week 5
Mon 9/29- Fri, 10/3
See Charette post
Week 6
Mon, 10/6
Student Affairs Orientation
Charrette Casebook due. See Charette post for details.
Wed 10/8
See Charette post for details
Fri 10/10
See Charette post for details.
Week 7
Mon, 10/13:
CLASS MEETING AT KERRY 218, Discussion on charrette projects, viewing/writing descriptions on Soundtransit installations on Broadway
Schedule Mid-term conferences, to take place during Week 8
Course evaluation for mid-term discussion during the next week
schedule reading timeline for Calvino's Invisible Cities,
Purchase Invisible Cities, as we will be utilizing this as our primary text for the next few weeks, followed by a course reader for the last few weeks of the course.
Excerpts from the book (think of this as a trailer) are here
Wed, 10/15
Discuss readings on maps, from Course Reader. Audio samples from Brian Eno (Music for Airports), Jackass, William Wegman-- discuss role of the audience in site-based works
Fri, 10/17
Library Orientation 2:30- 4:00 pm, class meeting at Cornish Library
Week 8
As both Monday and Wednesday of this week will be spent in small group conferences, you will be doing much of the work outside of the classroom. Two components that you will be responsible for during this time include reading Italo Calvino's Invisible Cities and writing in response to the work. For the writing, please consider and respond to the following:
Working from both the reading and your memories, describe at least three of the cities Marco Polo discusses with Khan, and compare to cities that you know, have visited, read about, or feel an affinity towards. What unites these disparate places? What differences do they exhibit? Who populates them? How do you navigate them? What is their character, and how does your writing reflect that character? Do you need to use different types of writing to give the sense of each different place? Is one city defined through poetry while another needs to be interviewed? When do you gain familiarity with a city? Can you trust a city?
M 10/20
Writing on charrette DUE,
Reading assignment: Italo Calvino, Invisible Cities
MID-TERM CONFERENCES AT KERRY HALL
W 10/22
Reading assignment: Italo Calvino, Invisible Cities
MID-TERM CONFERENCES AT MCC, 7TH FLOOR, FACULTY/STAFF LOUNGE
F 10/24
Cluster meeting with Erica Howard, Freeway Park. Links to articles on Freeway Park here
Week 9
M 10/27
Discussion on Invisible Cities
W 10/29
Discussion on Invisible Cities, visit Westlake Park
Fri 10/31
Field work: WATER TAXI TO ALKI. Writing prompt: Describe the journey using only words that you overhear along the way
Week 10
Mon 11/3
Calvino paper with revisions DUE, in-class peer response, discuss
Wed 11/5
Parks (continued): visit Seattle Times Park. In-class writing: Write a description/portrait of someone you passed on the street today. Then, give that description to another person in the class and ask them to make a drawing of that person (based exclusively on the description).
Fri 11/7
Class meeting at Federal Courthouse 2pm. Please remember -- no cameras, food, or drink. Also, you must present a picture I.D. (valid driver's license, state-issued identification, or passport). In-class writing: in every space that we pass through, write something as response.
Week 11:
Mon 11/10
Discussion on Federal Courthouse: Layout, writing responses--describe process for responding. Overview of course reader. Reading assignment: Graffiti piece (?) and Alain deBotton TBA
Describe Friday Volunteer Park field trip and plan itinerary on WEDNESDAY. Students to research and bring list. For this trip, I'd like to try a different format: instead of me leading/framing the experience, I'd like YOU to design what we should be taking from this experience, and examining aspects of the park that interest you, and maybe all of us.
What I'm proposing is this:
We meet at Kerry Hall, and depart (as a group) from there. You (and from here on out, I'll be referring to a collective "you") decide how we get to the park-- bus? walking? carpool?
Bring enough money for bus fare, museum entrance, other costs?
Once we arrive there, my suggestion is we sculpt a scavenger hunt, of sorts, with everyone contributing some places we should see while we're there. In part, this is to frame some of the ways I'd like us to move through the city next semester, but it also reflects the breadth of experiences available at Volunteer Park. Haven't been to Volunteer Park before? An introduction is here.
Wed 11/12
Parks: visit REI, Cascade Park, writing in comparison
Reading assignment (for Friday): TBA
Fri 11/14
Field work: Volunteer Park, as above.
Week 12
Mon 11/17
TBA, draft version below
Update this, but hold as general model: Shared class with Kim Mackay's group-- my class shares drafts of their writings on Volunteer Park with Kim's class, who act as mentors to my group-- providing analysis and feedback on the writing. The suggestions from Kim's class will be utilized in the next version, due Monday 11/24. For this version (keeping in mind that we will continue to work with this paper), please also consider the writings from the Course Reader II, and look for ways to synthesize your views with the views of Pierce Lewis, J.B. Jackson, Nicholson Baker, and Alain de Botton. For example, how does your view of the urban park differ from Jackson's?
Wed 11/19
DUE Draft #2/Synthesis paper on Volunteer Park/Course Reader II (parks). This writing should include your responses to writings by J.B. Jackson, located in the course reader. Discussion and analysis of Synthesis paper (from Kim's class) IN-CLASS. Discuss peer feedback from last week.
Fri 11/21
Columbia Tower, City Hall, Pioneer Square (time permitting).
Audio descriptions-- what did you hear during the journey?
Week 13
Mon, 11/24
Discussion on Fri 11/21 field work
Writing workshop in small groups, discuss assigned readings from Course Reader
Reading assignment:
Wed, 11/26 NO CLASS, THANKSGIVING
Fri, 11/28 NO CLASS, THANKSGIVING
Week 14
Discuss final portfolio design (see recent post, handout in class), in-class writing samples.
Mon, 12/1
IS Evaluation discussion
Reading assignment:
Wed, 11/26 NO CLASS, THANKSGIVING
Fri, 11/28 NO CLASS, THANKSGIVING
Week 14
Discuss final portfolio design (see recent post, handout in class), in-class writing samples.
Mon, 12/1
IS Evaluation discussion
Wed 12/3
Writing workshop, *speed dating-style*, responding to each other's papers, in small groups
Fri 12/5
Meet at MCC
Portfolio workshop, bring draft version of your assembled portfolio
Week 15
Mon, 12/8
Portfolios DUE
Week 15
Mon, 12/8
Portfolios DUE
FINAL CONFERENCES, GROUP 1 (WE'LL CHOOSE IN CLASS)
PORTFOLIOS DUE, with self-reflective writing introduction
Course evaluation, discussion, overview of Proposed Land Use Action, proposals for Spring 08 projects, Post-portfolio writing project, begin conferences
Wed, 12/10
FINAL CONFERENCES, GROUP 1 (WE'LL CHOOSE IN CLASS)
Course evaluation, discussion, overview of Proposed Land Use Action, proposals for Spring 08 projects, Post-portfolio writing project, begin conferences
Fri, 12/12 Cluster meeting, view The Cruise, Streetwise, Hype? Suggestions?
PORTFOLIOS DUE, with self-reflective writing introduction
Course evaluation, discussion, overview of Proposed Land Use Action, proposals for Spring 08 projects, Post-portfolio writing project, begin conferences
Wed, 12/10
FINAL CONFERENCES, GROUP 1 (WE'LL CHOOSE IN CLASS)
Course evaluation, discussion, overview of Proposed Land Use Action, proposals for Spring 08 projects, Post-portfolio writing project, begin conferences
Fri, 12/12 Cluster meeting, view The Cruise, Streetwise, Hype? Suggestions?
Tuesday, July 29, 2008
Recon
This is the building on the corner of Terry and Howell, slated for demolition at some point. These images are from a class field trip (reconnaissance of the exterior) on February 11, 2008.
Tuesday, May 6, 2008
Sunday, April 27, 2008
Friday, May 2
Meet at MCC 107 at 1:30
We'll be viewing Hype! and discussing the history of grunge in Seattle.
Dress Grunge!
Bring grunge-food!
Pie will be provided!
Wednesday, April 23, 2008
In writing
Okay, even though we've gone through it a few times in class, here's the breakdown of everything to be included in your Final Portfolio, DUE THIS FRIDAY, April 25th:
1.
A self-reflective introduction, assessing your progress in the class. While it may be a concise document, this piece of writing would ideally give the reader a sense of both your progression through the coursework as well as sense of how to progress through the writings that follow. In effect, this is a road map (of sorts) to your portfolio.
2.
All of the prompted/assigned writings done either in class or outside of class, most from the first half of the semester. These should be typed, and do not necessarily need to be clean copies (they can have the comments from you or I or both of us). Although I'm not providing a list of these writings, you can find everything we've done in the Spring 2008 calendar link (at right on your screen).
3.
Abstract to your research project. Again, if you have questions on the content or form of this document, check out my previous posting here
4.
Your research project, self-directed. As we discussed, this may take multiple/hybrid forms, incorporating any number of writing approaches we've discussed or read this semester, so it is difficult to say what the "required amount" is going to be for any given person. As a GUIDELINE ONLY, the requirement for this writing is that it be substantial-- exhibiting your depth and knowledge into a site, or subject that extends from your research into that site. In line with this, when you were given the writing prompt to go to another person's location and respond to the experience of being toured, that writing was designed to function (for the person touring ) as a vital element in their process. If you have not done so already, it may be helpful to provide them with a copy of that writing to be included with their works.
5.
Bibliography, annotated (as needed). Looking at this pragmatically, we collectively explored a HUGE range of writings this semester (from handouts, online resources, and the Course Reader to all of the writings that you used in your own research)-- ALL OF THIS SHOULD be included in your bibliography. In the interest of time management, it most likely does not serve you to write up annotated entries on all of these sources, however certain pieces that you found notable or particularly useful should be discussed here, even briefly.
Again, if you have any questions at all during your assembly, please do not hesitate to email me, or post a comment (for the group to see) on this posting. Thanks again.
1.
A self-reflective introduction, assessing your progress in the class. While it may be a concise document, this piece of writing would ideally give the reader a sense of both your progression through the coursework as well as sense of how to progress through the writings that follow. In effect, this is a road map (of sorts) to your portfolio.
2.
All of the prompted/assigned writings done either in class or outside of class, most from the first half of the semester. These should be typed, and do not necessarily need to be clean copies (they can have the comments from you or I or both of us). Although I'm not providing a list of these writings, you can find everything we've done in the Spring 2008 calendar link (at right on your screen).
3.
Abstract to your research project. Again, if you have questions on the content or form of this document, check out my previous posting here
4.
Your research project, self-directed. As we discussed, this may take multiple/hybrid forms, incorporating any number of writing approaches we've discussed or read this semester, so it is difficult to say what the "required amount" is going to be for any given person. As a GUIDELINE ONLY, the requirement for this writing is that it be substantial-- exhibiting your depth and knowledge into a site, or subject that extends from your research into that site. In line with this, when you were given the writing prompt to go to another person's location and respond to the experience of being toured, that writing was designed to function (for the person touring ) as a vital element in their process. If you have not done so already, it may be helpful to provide them with a copy of that writing to be included with their works.
5.
Bibliography, annotated (as needed). Looking at this pragmatically, we collectively explored a HUGE range of writings this semester (from handouts, online resources, and the Course Reader to all of the writings that you used in your own research)-- ALL OF THIS SHOULD be included in your bibliography. In the interest of time management, it most likely does not serve you to write up annotated entries on all of these sources, however certain pieces that you found notable or particularly useful should be discussed here, even briefly.
Again, if you have any questions at all during your assembly, please do not hesitate to email me, or post a comment (for the group to see) on this posting. Thanks again.
Wednesday, April 9, 2008
Los Angeles Poverty Department (LAPD)
I'll add their link on the right, but Tonya Lockyer just directed me to the work of the Los Angeles Poverty Department (LAPD),
From their website,
Los Angeles Poverty Department was founded in 1985 by director, actor, activist, and writer John Malpede. At its inception, LAPD was the first performance group in the nation made up principally of homeless people. LAPD is dedicated to building community on Skid Row, Los Angeles. Since 1985, the company has offered performance workshops that are free and open to the Skid Row community— partnering with numerous social service and advocacy groups, including SRO Housing, Inc.; LA Community Action Network; The Downtown Women’s Action Coalition; St.Vincent DePaul Center; The Salvation Army’s Women’s and Men’s drug recovery programs; and the Inner City Law Center.A theater-without-walls for people living in Los Angeles’ inner city, LAPD has also partnered with communities and arts organizations across the United States to create powerful original works that speak to a range of political issues. Extended residencies have been held in Chicago, Philadelphia, Miami, San Francisco, Houston, and Minneapolis, among other cities.
From their website,
Los Angeles Poverty Department was founded in 1985 by director, actor, activist, and writer John Malpede. At its inception, LAPD was the first performance group in the nation made up principally of homeless people. LAPD is dedicated to building community on Skid Row, Los Angeles. Since 1985, the company has offered performance workshops that are free and open to the Skid Row community— partnering with numerous social service and advocacy groups, including SRO Housing, Inc.; LA Community Action Network; The Downtown Women’s Action Coalition; St.Vincent DePaul Center; The Salvation Army’s Women’s and Men’s drug recovery programs; and the Inner City Law Center.A theater-without-walls for people living in Los Angeles’ inner city, LAPD has also partnered with communities and arts organizations across the United States to create powerful original works that speak to a range of political issues. Extended residencies have been held in Chicago, Philadelphia, Miami, San Francisco, Houston, and Minneapolis, among other cities.
Monday, March 31, 2008
My thesis is
As a comment on this posting, please include either your thesis topic, or questions (likes the ones we shared in class last week) that you will likely be pursuing in your research. For Wednesday, please come prepared with both your thesis (the topic you plan to pursue) and an rough draft of the abstract for your project. Typically, the abstract accompanies your research, and is written after the fact (although it is meant to be read before the research document and frequently contains numerous keywords). For our purposes (and given the time constraints on your project development), you will be writing your abstract alongside your research paper. It will function as both informative and descriptive of your research packet.
HERE is a link to an article from Philip Koopman (from Carnegie-Mellon, 1997), entitled (you guessed it) "How to Write an Abstract". Also,
HERE is a link to similar information from George Mason University (but the blue band in the middle of the online document kinda makes it annoying to read).
HERE is a link to an article from Philip Koopman (from Carnegie-Mellon, 1997), entitled (you guessed it) "How to Write an Abstract". Also,
HERE is a link to similar information from George Mason University (but the blue band in the middle of the online document kinda makes it annoying to read).
Wednesday, March 19, 2008
Experimental Prototype
Here is a link to the wikipedia page on EPCOT, with a description consistent with our overview in class today. Also, for updates on coursework, please click on the SPRING 2008 Calendar link at right (I've been updating it for the coming weeks)
And the Florida city I was trying to recall is Celebration, with some background (again, special thanks to wikipedia) here
And the Florida city I was trying to recall is Celebration, with some background (again, special thanks to wikipedia) here
Thursday, March 13, 2008
Proposed Land Use Action Tour 2008
I've been compiling images of Alex playing every time we go somewhere, and plan on revising this posting every time we go somewhere new. Alex, if you have scores or audio for any of the music you're playing in these images let me know and I'll try to link some audio/mp3 so people could hear what you're playing
Monday, March 3, 2008
Mid-term conference schedule REVISED
Unless otherwise noted, individual conferences will run approximately 15 minutes. These meetings are designed to be informal conversations-- a chance for us to sit down and discuss you progress and work in the course. If there are specific readings, writings, or discussion topics you would like to focus on, please email me ahead of time, so that I can prepare.
For those of you not in class on Monday, your scheduled conferences are obviously tentative, and need to be confirmed. If you are unable to make your scheduled appointment, please let me know and I'll be happy to sit down with you outside of class. Thanks,
Wednesday, 3/5
4:15 Ryan
4:30 Corey
4:45 Robert
5:00 Graham
5:15 Lindsay TBA
5:30 Nick
5:45 Kati
6:00 Kelly
Friday, 3/7
1:30 Cara
1:45 Julian
2:00 Maia
2:15 Amanda
2:30 Alex
2:45 Jason
3:00 Taylor TBA
3:15 Akasha TBA
3:30 Katherine TBA
3:45 Jake TBA
For those of you not in class on Monday, your scheduled conferences are obviously tentative, and need to be confirmed. If you are unable to make your scheduled appointment, please let me know and I'll be happy to sit down with you outside of class. Thanks,
Wednesday, 3/5
4:15 Ryan
4:30 Corey
4:45 Robert
5:00 Graham
5:15 Lindsay TBA
5:30 Nick
5:45 Kati
6:00 Kelly
Friday, 3/7
1:30 Cara
1:45 Julian
2:00 Maia
2:15 Amanda
2:30 Alex
2:45 Jason
3:00 Taylor TBA
3:15 Akasha TBA
3:30 Katherine TBA
3:45 Jake TBA
Urban Archives
Here is a link to the work being done at University of Washington. Special thanks to Gabrielle Dean who located this and passed it along.
Tuesday, February 19, 2008
The Rez As I Saw It
is the title of the new play by Caleb Penn--
IF YOU HAVEN'T SEEN IT YET
I'll have copies of the play available all morning. I'm in the Foundations classroom (room 603, I think) from 8-12. Copies are also available in the library on reserve, and we'll have some available during IS class.
Thanks,
IF YOU HAVEN'T SEEN IT YET
I'll have copies of the play available all morning. I'm in the Foundations classroom (room 603, I think) from 8-12. Copies are also available in the library on reserve, and we'll have some available during IS class.
Thanks,
Tuesday, February 5, 2008
Writing projects, with due dates
All of these writings (along with your notes from class and observations from the field) will be submitted periodically throughout the semester, along with an annotated bibiliography
Writing 1, DUE Monday, January 28
Roughly 3 pages introducing your chosen site to your audience--
Where is it?
Why are you drawn to it and how did you first encounter it?
What processes are you finding helpful (or difficult) in researching and translating your experiences into writing?
Specifically, spend some time describing your process (perhaps this could be collected notes that accompany the deeper writing), explaining how and where you are locating information. Are you spending time in the library? Photographing on location? Interviewing? Drawing? Moving in space? Listening to music?
What types of writing are you finding to be most useful in describing or explaining your attraction to this location? Then, in line with these questions, spend some time writing about questions that you may have for both a reader as well as a potential collaborator (remember, we'll be passing these collections around to other members of the class once we get a little deeper into the writing).
Writing 2, DUE Wednesday, February 6
Roughly 3-5 pages, describing a location (a building or site) that no longer exists. Explain your experiences there, giving your audience a sense of why this site resonates with you. What, specifically, do you recall about the location? When were you there? Why is the memory of this space important to you?
Writing 3, DUE Wednesday, February 13
Focus on the context of your chosen PROPOSED LAND USE ACTION location. What is the neighborhood, and who participates in the community? What buildings, resources, parks, amenities are in the vicinity? What are the boundaries of the environment and how does it intersect with other areas in our city?
Writing 4, DUE Wednesday, February 20
Looking back into the past, what historical facts emerge around your site? What events and people were crucial? FIRST DRAFT DUE
Writing 5, DUE Monday, February 25
PORTFOLIO WITH ANNOTATED BIBLIOGRAPHY DUE
Looking back into the past, what historical facts emerge around your site? What events and people were crucial? SECOND DRAFT DUE
SPRING BREAK HERE
THE FOLLOWING PROMPTS ARE DRAFT VERSIONS ONLY
FOR CURRENT WRITING PROJECTS, PLEASE VIEW THE SPRING 2008 CALENDAR
Explore writing about your chosen location in a different voice Say, for example, that you are utilizing historical documents in your research--how do those documents frame their arguments? What is distinct about the voice(s) of the writers? How does a document written by Cornish from 1920 differ from one written this afternoon?
Return, revisit. Spend some time walking around your location IN PAIRS What are you noticing about the area as it undergoes changes? How are other people responding to these changes? Construction workers? Neighbors? Developers? Historians? Artists? This writing may be a word list, poem, short story, hybrid form...
Projection-- what will this site look like in the future? Taking your cues from the signage, the neighborhood, and your own observations, produce a portrait of your location and the city it will join.
Writing 1, DUE Monday, January 28
Roughly 3 pages introducing your chosen site to your audience--
Where is it?
Why are you drawn to it and how did you first encounter it?
What processes are you finding helpful (or difficult) in researching and translating your experiences into writing?
Specifically, spend some time describing your process (perhaps this could be collected notes that accompany the deeper writing), explaining how and where you are locating information. Are you spending time in the library? Photographing on location? Interviewing? Drawing? Moving in space? Listening to music?
What types of writing are you finding to be most useful in describing or explaining your attraction to this location? Then, in line with these questions, spend some time writing about questions that you may have for both a reader as well as a potential collaborator (remember, we'll be passing these collections around to other members of the class once we get a little deeper into the writing).
Writing 2, DUE Wednesday, February 6
Roughly 3-5 pages, describing a location (a building or site) that no longer exists. Explain your experiences there, giving your audience a sense of why this site resonates with you. What, specifically, do you recall about the location? When were you there? Why is the memory of this space important to you?
Writing 3, DUE Wednesday, February 13
Focus on the context of your chosen PROPOSED LAND USE ACTION location. What is the neighborhood, and who participates in the community? What buildings, resources, parks, amenities are in the vicinity? What are the boundaries of the environment and how does it intersect with other areas in our city?
Writing 4, DUE Wednesday, February 20
Looking back into the past, what historical facts emerge around your site? What events and people were crucial? FIRST DRAFT DUE
Writing 5, DUE Monday, February 25
PORTFOLIO WITH ANNOTATED BIBLIOGRAPHY DUE
Looking back into the past, what historical facts emerge around your site? What events and people were crucial? SECOND DRAFT DUE
SPRING BREAK HERE
THE FOLLOWING PROMPTS ARE DRAFT VERSIONS ONLY
FOR CURRENT WRITING PROJECTS, PLEASE VIEW THE SPRING 2008 CALENDAR
Explore writing about your chosen location in a different voice Say, for example, that you are utilizing historical documents in your research--how do those documents frame their arguments? What is distinct about the voice(s) of the writers? How does a document written by Cornish from 1920 differ from one written this afternoon?
Return, revisit. Spend some time walking around your location IN PAIRS What are you noticing about the area as it undergoes changes? How are other people responding to these changes? Construction workers? Neighbors? Developers? Historians? Artists? This writing may be a word list, poem, short story, hybrid form...
Projection-- what will this site look like in the future? Taking your cues from the signage, the neighborhood, and your own observations, produce a portrait of your location and the city it will join.
Monday, February 4, 2008
Course Reader bibliography
I'm gonna edit this further, but here's a preview of some of the sources cited in the new reader
Burgin, Victor. Some Cities. London: Reaktion Books, 1996.
Brand, Stewart. How Buildings Learn: What happens after they're built. New York: Penguin Books, 1994.
Mumford, Lewis (Jeanne M. Davern, ed.). Architecture as a Home for Man: Essays for the Architectural Record. New York: McGraw-Hill, 1975.
Walker, Lester. American Shelter: An Illustrated Encyclopedia of the American Home. Woodstock: The Overlook Press, 1981.
Geist, Johann Friedrich. Arcades: The History of a Building Type. Cambridge: The MIT Press, 1983.
Burgin, Victor. Some Cities. London: Reaktion Books, 1996.
Brand, Stewart. How Buildings Learn: What happens after they're built. New York: Penguin Books, 1994.
Mumford, Lewis (Jeanne M. Davern, ed.). Architecture as a Home for Man: Essays for the Architectural Record. New York: McGraw-Hill, 1975.
Walker, Lester. American Shelter: An Illustrated Encyclopedia of the American Home. Woodstock: The Overlook Press, 1981.
Geist, Johann Friedrich. Arcades: The History of a Building Type. Cambridge: The MIT Press, 1983.
Saturday, January 26, 2008
Wednesday, January 23, 2008
Where Is It?
Please post the physical description of your site as a comment here (a link to Google Maps would be helpful, but is not required).
Also, please see the calendar below (or linked at right) for a fuller explanation of the initial writings due Monday. And for those of you new to navigating the blog, if you click on the "Spring 2008" calendar link, it will open a new window to that link only. To return to the main blog page, simple click on the header ("Notice of Proposed Land Use Action" title) and you will return to the main blog page.
Also, please see the calendar below (or linked at right) for a fuller explanation of the initial writings due Monday. And for those of you new to navigating the blog, if you click on the "Spring 2008" calendar link, it will open a new window to that link only. To return to the main blog page, simple click on the header ("Notice of Proposed Land Use Action" title) and you will return to the main blog page.
Sunday, January 20, 2008
Dubailyon
I just came across this on Artforum's website, and well, it seems like something we might want to discuss...
DUBAI PLANS TO BUILD COPY OF LYON
In a move that recalls Abu Dhabi's plans to open its own branch of the Louvre, the neighboring Dubai has announced plans to build its own version of the French city of Lyon in the desert. As Le Monde's Sophe Landrin reports, the architectural replica will consist of a thousand-acre miniature based on "the spirit" of Lyon and will include municipal cultural and educational attractions, including the fabric museum, the university, the Lumière Institute, the institute of the chef Paul Bocuse, and even the soccer club Olympique Lyonnais.
The ambitious project—to be completed in four years—is the brainchild of Buti Saeed Al Ghandi, the chairman of the Emivest, Dubai's biggest investor. According to Landrin, Al Ghandi is said to have "fallen in love" with Lyon, the former capital of Gaul. An initial agreement was signed last week between Al Ghandi, the city, and the various institutions involved. While the inspiration has been found, it's not yet clear on what castles of sand Lyon-Dubai will be built.
Wednesday, January 16, 2008
Proposed Land Use Action CALENDAR
Week 1
Mon, 1/14: introduction, syllabus overview
Wed, 1/16: field trip, Consolidated Works
Fri, 1/18: Tour Paramount Theatre, 2 pm
Week 2
Mon, 1/21: NO CLASS, MLK JR. DAY
Wed, 1/23:
*Writing assignment DUE MONDAY, 1/28:
Roughly 3 pages introducing your chosen site to your audience--
Where is it?
Why are you drawn to it and how did you first encounter it?
What processes are you finding helpful (or difficult) in researching and translating your experiences into writing?
Specifically, spend some time describing your process (perhaps this could be collected notes that accompany the deeper writing), explaining how and where you are locating information. Are you spending time in the library? Photographing on location? Interviewing? Drawing? Moving in space? Listening to music?
What types of writing are you finding to be most useful in describing or explaining your attraction to this location? Then, in line with these questions, spend some time writing about questions that you may have for both a reader as well as a potential collaborator (remember, we'll be passing these collections around to other members of the class once we get a little deeper into the writing).
*Reading for Monday: CLUI, excerpts from Overlook (handout in class)
Fri, 1/25: MOHAI (see link at right)-- Meet at MOHAI at 2 pm
Week 3
Mon, 1/28: WRITINGS DUE (SEE ABOVE)
Debriefing on Paramount Theatre, discuss articles/handouts: Susan Mitchell's "Notes on Scaffolding" and article from New Yorker, look at writings on chosen sites
Reading: Jane Jacobs for Friday
Wed, 1/30: Continue discussion on readings, targeting links to writings (scaffolding)
Fri, 2/1: Seattle Central Library TBA
Week 4
Mon, 2/4: Research overview with Heather Shepherd
Wed, 2/6: Writing 2 due (see recent posting)
Design research model, meeting in MC 1
Reading discussion: OMA/LMN Process Book
COURSE READER AVAILABLE WEDNESDAY
Fri, 2/8: Class meeting in Cornish Library
Week 5
Mon, 2/11: Class discussion on Rugoff, Coolidge
Wed, 2/13: Writing 3 due, see recent post
Fri, 2/15: Seattle Underground Tour, meet at 2pm, $8.00 per person
Week 6
Mon, 2/18: NO CLASS, PRESIDENT'S DAY
Wed, 2/20: Writing 4 due, see list
read from student papers/peer review of paper on "context", discuss portfolio/annotated bibliography development
Caleb Penn's play at Freehold, 7:30 pm
Fri, 2/22:
Proposed Land Use Action site-- use Amanda's site
Cluster meeting at 2:30, reading of Mallery's play
Week 7
Mon, 2/25: Class discussion, Writing 5 due
Wed, 2/27: Cluster meeting with Caleb Penn
Fri, 2/29: Bring Portfolio with annotated bibliography, peer evaluation of works
Week 8
Mon, 3/3: Discuss articles in Reader-- "How Buildings Learn", ch.1, ch. 2
Wed, 3/5: Individual meetings, see list in class
Fri, 3/7: Individual meetings, see list
Week 9
NO CLASS, SPRING BREAK!
Week 10
Mon, 3/17
Discussion with in-class writing:
1. List of questions for potential thesis (due at beginning of class Wednesday)
2. Types of writing for the main research component
3. Mid-term assessment
Reading assignment: Jane Jacobs, "Sidewalks" (course reader), to discuss Wednesday
Wed, 3/19
WRITING DUE: Describe the sidewalk that we utilized on Monday to get to the AVA & Camlin. How did we navigate it? Who used it along with us? What do we pass? How is the path maintained? What does it tell us about the neighborhood? At least one long, powerful paragraph describing the area and explaining your experiences there
Discussion:
1. Jacobs reading, as above
2. Peer response to writings, synthesizing Jacobs reading!
Fri, 3/21
Research in teams, going to one of your locations-- one person leads, one person gets the tour, both of you write a response to the experience, history of the location may be integrated here, in multiple ways...
Reading assignment for Monday: Victor Burgin, from Some Cities
Week 11
Mon, 3/24 Discussion
1. Field research from last week, what was the experience of guiding/being guided?
2. Thesis development, list of possible topics to pursue (more developed)
IN-CLASS WRITING-- Responding to the Burgin excerpt, write about a city that you thought of or imagined during the reading, discussing the links of your city to the Burgin descriptions
Reading assignment for Wednesday: Peter Marin, "Helping and Hating the Homeless"
Wed, 3/26
Discussion:
1. Thesis-- What unites all of the writings you've done on your site/neighborhood/history/region/personal experiences? What tone are you setting for a reader with the organization and progression of the works?
2. Marin reading, and homeless community in relation to your sites, as possible
Reading assignment: Lewis Mumford, from "The Disappearing City"
Fri, 3/28
Research in teams, going to one of your locations (the other one)-- one person leads, one person gets the tour, both of you write a response to the experience
Week 12
Mon 3/31
Discussion
1. Field research from last week, what was the experience of guiding/being guided?
2. Mumford reading
Reading assignment: Kevin Lynch, from "The Image of the City"
Wed 4/2
Writing due (Thesis, with abstract DRAFT VERSION)
Discussion:
1.
2. How to utilize the library for this project; what do you need to do to scaffold the experience this Friday?
Fri, 4/4 Cluster meeting at Seattle Central Library, specifics to follow
Week 13
Mon 4/7
Discussion:
1. Lynch reading from course reader)
View DVD: Vertigo
Write a response both to the film, as well as Victor Burgin's notes (handout in class)
Wed, 4/9:
Discussion: compare Burgin, Vertigo
View DVD: Vertigo
Discussion of film, reading papers
Fri, 4/11:
Look at portfolio development
Field work, time permitting
Week 14
Mon, 4/14:
Writing due, In-class writing workshop
Discuss abstracts (read aloud), bibliography,
Wed, 4/16:
Cluster meeting with Tonya Lockyer TBA
CLASS MEETING AT KERRY HALL ROOM 305
Reading assignment, Kevin Lynch, Image of the City (excerpt)
Fri, 4/18:
Discuss Kevin Lynch
In-class reading: Waiting for Godot
Week 15
Mon, 4/21: Organize portfolios, with peer evaluations/suggestions
In-class reading: Waiting for Godot
Wed, 4/23:
Field work: Pioneer Square, UPS park, King Street Building, Tashiro Kaplan
Fri, 4/25: PORTFOLIO DUE, include Self-evaluation (as introduction)
Discuss portfolios, and design schedule for focus group meetings on Monday and Wednesday of next week
COURSE AND PROGRAM EVALUATIONS
Week 16
Mon, 4/28: FOCUS GROUP DISCUSSION, SEE LIST
Wed, 4/30: FOCUS GROUP DISCUSSION, SEE LIST
Fri, 5/2: Cluster meeting. BRING FOOD!
Mon, 1/14: introduction, syllabus overview
Wed, 1/16: field trip, Consolidated Works
Fri, 1/18: Tour Paramount Theatre, 2 pm
Week 2
Mon, 1/21: NO CLASS, MLK JR. DAY
Wed, 1/23:
*Writing assignment DUE MONDAY, 1/28:
Roughly 3 pages introducing your chosen site to your audience--
Where is it?
Why are you drawn to it and how did you first encounter it?
What processes are you finding helpful (or difficult) in researching and translating your experiences into writing?
Specifically, spend some time describing your process (perhaps this could be collected notes that accompany the deeper writing), explaining how and where you are locating information. Are you spending time in the library? Photographing on location? Interviewing? Drawing? Moving in space? Listening to music?
What types of writing are you finding to be most useful in describing or explaining your attraction to this location? Then, in line with these questions, spend some time writing about questions that you may have for both a reader as well as a potential collaborator (remember, we'll be passing these collections around to other members of the class once we get a little deeper into the writing).
*Reading for Monday: CLUI, excerpts from Overlook (handout in class)
Fri, 1/25: MOHAI (see link at right)-- Meet at MOHAI at 2 pm
Week 3
Mon, 1/28: WRITINGS DUE (SEE ABOVE)
Debriefing on Paramount Theatre, discuss articles/handouts: Susan Mitchell's "Notes on Scaffolding" and article from New Yorker, look at writings on chosen sites
Reading: Jane Jacobs for Friday
Wed, 1/30: Continue discussion on readings, targeting links to writings (scaffolding)
Fri, 2/1: Seattle Central Library TBA
Week 4
Mon, 2/4: Research overview with Heather Shepherd
Wed, 2/6: Writing 2 due (see recent posting)
Design research model, meeting in MC 1
Reading discussion: OMA/LMN Process Book
COURSE READER AVAILABLE WEDNESDAY
Fri, 2/8: Class meeting in Cornish Library
Week 5
Mon, 2/11: Class discussion on Rugoff, Coolidge
Wed, 2/13: Writing 3 due, see recent post
Fri, 2/15: Seattle Underground Tour, meet at 2pm, $8.00 per person
Week 6
Mon, 2/18: NO CLASS, PRESIDENT'S DAY
Wed, 2/20: Writing 4 due, see list
read from student papers/peer review of paper on "context", discuss portfolio/annotated bibliography development
Caleb Penn's play at Freehold, 7:30 pm
Fri, 2/22:
Proposed Land Use Action site-- use Amanda's site
Cluster meeting at 2:30, reading of Mallery's play
Week 7
Mon, 2/25: Class discussion, Writing 5 due
Wed, 2/27: Cluster meeting with Caleb Penn
Fri, 2/29: Bring Portfolio with annotated bibliography, peer evaluation of works
Week 8
Mon, 3/3: Discuss articles in Reader-- "How Buildings Learn", ch.1, ch. 2
Wed, 3/5: Individual meetings, see list in class
Fri, 3/7: Individual meetings, see list
Week 9
NO CLASS, SPRING BREAK!
Week 10
Mon, 3/17
Discussion with in-class writing:
1. List of questions for potential thesis (due at beginning of class Wednesday)
2. Types of writing for the main research component
3. Mid-term assessment
Reading assignment: Jane Jacobs, "Sidewalks" (course reader), to discuss Wednesday
Wed, 3/19
WRITING DUE: Describe the sidewalk that we utilized on Monday to get to the AVA & Camlin. How did we navigate it? Who used it along with us? What do we pass? How is the path maintained? What does it tell us about the neighborhood? At least one long, powerful paragraph describing the area and explaining your experiences there
Discussion:
1. Jacobs reading, as above
2. Peer response to writings, synthesizing Jacobs reading!
Fri, 3/21
Research in teams, going to one of your locations-- one person leads, one person gets the tour, both of you write a response to the experience, history of the location may be integrated here, in multiple ways...
Reading assignment for Monday: Victor Burgin, from Some Cities
Week 11
Mon, 3/24 Discussion
1. Field research from last week, what was the experience of guiding/being guided?
2. Thesis development, list of possible topics to pursue (more developed)
IN-CLASS WRITING-- Responding to the Burgin excerpt, write about a city that you thought of or imagined during the reading, discussing the links of your city to the Burgin descriptions
Reading assignment for Wednesday: Peter Marin, "Helping and Hating the Homeless"
Wed, 3/26
Discussion:
1. Thesis-- What unites all of the writings you've done on your site/neighborhood/history/region/personal experiences? What tone are you setting for a reader with the organization and progression of the works?
2. Marin reading, and homeless community in relation to your sites, as possible
Reading assignment: Lewis Mumford, from "The Disappearing City"
Fri, 3/28
Research in teams, going to one of your locations (the other one)-- one person leads, one person gets the tour, both of you write a response to the experience
Week 12
Mon 3/31
Discussion
1. Field research from last week, what was the experience of guiding/being guided?
2. Mumford reading
Reading assignment: Kevin Lynch, from "The Image of the City"
Wed 4/2
Writing due (Thesis, with abstract DRAFT VERSION)
Discussion:
1.
2. How to utilize the library for this project; what do you need to do to scaffold the experience this Friday?
Fri, 4/4 Cluster meeting at Seattle Central Library, specifics to follow
Week 13
Mon 4/7
Discussion:
1. Lynch reading from course reader)
View DVD: Vertigo
Write a response both to the film, as well as Victor Burgin's notes (handout in class)
Wed, 4/9:
Discussion: compare Burgin, Vertigo
View DVD: Vertigo
Discussion of film, reading papers
Fri, 4/11:
Look at portfolio development
Field work, time permitting
Week 14
Mon, 4/14:
Writing due, In-class writing workshop
Discuss abstracts (read aloud), bibliography,
Wed, 4/16:
Cluster meeting with Tonya Lockyer TBA
CLASS MEETING AT KERRY HALL ROOM 305
Reading assignment, Kevin Lynch, Image of the City (excerpt)
Fri, 4/18:
Discuss Kevin Lynch
In-class reading: Waiting for Godot
Week 15
Mon, 4/21: Organize portfolios, with peer evaluations/suggestions
In-class reading: Waiting for Godot
Wed, 4/23:
Field work: Pioneer Square, UPS park, King Street Building, Tashiro Kaplan
Fri, 4/25: PORTFOLIO DUE, include Self-evaluation (as introduction)
Discuss portfolios, and design schedule for focus group meetings on Monday and Wednesday of next week
COURSE AND PROGRAM EVALUATIONS
Week 16
Mon, 4/28: FOCUS GROUP DISCUSSION, SEE LIST
Wed, 4/30: FOCUS GROUP DISCUSSION, SEE LIST
Fri, 5/2: Cluster meeting. BRING FOOD!
Friday, January 4, 2008
Thursday, December 6, 2007
Tuesday, December 4, 2007
Alex Performing at PONCHO
Don't forget! Alex Wilkins is performing tomorrow afternoon at 4 pm as part of Scores of Sound at PONCHO (Kerry Hall). Here is the schedule for the entire week
Scores of Sound - Student Music Festival
Fall 2007
Tuesday, Dec. 4th – Friday, Dec. 7th
PONCHO Concert Hall - 710 E. Roy St.
Cornish College of the Arts
Free and open to the public.
Tuesday, December 4th
1pm Rhythm Section
2pm Vocal Jazz Standards II, III and IV with Beth Winter
3-3:30pm Snack Break
3:30pm Composer-Performer Ensemble with Linda Waterfall
4:30pm Classical Voice Studios I
5:30pm African Drumming Ensemble with Kofi Anang
6:30-8pm Dinner Break
8pm Latin Ensemble with Jovino Santos Neto
9pm Vocal Jazz Standards II, III, and IV with Randy Halberstadt
Wednesday, December 5th
11am-12pm Classical Voice Studios II
12pm Lunch Break
1pm Jazz Ensemble II with Chuck Deardorf
2pm Jazz Composition Class with Jim Knapp
3-3:30pm Snack Break
3:30-4pm Art Songs with Bern Herbolsheimer
4pm Chamber Music Ensembles I
5pm Acting for Singers with Natalie Lerch
6-7:30pm Dinner Break
7:30-8pm Bachianas Brasilieras by Villalobos with Natalie Lerch and Eight Cellists
8-9:30pm Seattle Chamber Players perform Composition Seminar Works
Thursday, December 6th
11am Jazz Ensemble I with Chuck Deardorf
12pm Lunch Break
1pm Jazz Composers Ensemble with Jim Knapp
2pm Vocal Jazz Standards I with Beth Winter
3-5pm Composition Studios
5-5:30pm Snack Break
5:30pm Gamelan Ensemble with Jarrad Powell
6:30-8pm Dinner Break
8pm Classical Instrumental Studios I
9pm Chamber Music Ensembles II
Friday, December 7th
10:30am-12pm Electronic Music with John Burrow
12-1:30pm Lunch Break
1:30pm Jazz Ensemble II with Randy Halberstadt
2:30pm Jazz Arranging with Jovino Santos Neto
3:30-4pm Snack Break
4pm Composer-Performer Ensemble with Jovino Santos Neto
5pm Chorus with Roger Nelson
6pm Classical Instrumental Studios II
7pm Dinner Break
8pm Jazz Ensemble IV with Denney Goodhew
9pm Blue Ensemble with Denney Goodhew
Sunday, December 2, 2007
THE LIST
By request, here's the list of writings that, in some form or another, should be included in your final portfolio. All works are listed chronologically, with annotation where it may be helpful. For blog entries, either provide an annotated citation/bibliographic entry, or print a copy of your response. For each of the field work studies listed, length of your document may vary, although 2-3 pages is a recommended length to begin.
Think rich. Look Poor. Blog entry, Monday, September 10, 2007.
Charette casebook, multiple elements (again, see related list on blog archive). Page content will vary in these works, but please consider that your writing contributions here represent the bulk of your work this semester, in both content and length.
Field work: Westlake Park, City Hall Park, and Seattle City Hall (via bus tunnel)
Kerry Hall Songs. Blog entry.
Music of Kerry Hall, revision of blog entry, may also include audio and mapping elements.
Field work: Tashkent Park & Cal Anderson Park
Field work: Federal Courthouse, REI greenspace, and Cascade People's Center (for these, please cite any references you make to the GSA book provided at the Courthouse, or any research you use from either CPC or REI. For your convenience, weblinks to both these places are provided in the alphabetical list on the right)
Volunteer Park. Blog entry. As of today, only Brittany and Akasha have commented on this posting. Even though it is retroactive, please provide helpful links to either things you saw at the park, or reference guides you may have used in writing your responses to the site.
Field work: Volunteer Park, 1st draft. This writing should address (even if in passing) all of the sites we visited: reservoir, koi pond, playground, Bruce Lee's grave, conservatory, and water tower.
Field work: Volunteer Park, 2nd draft, with revisions from Kim's class and synthesis of Course Reader writings. How have other writers responded to issues concerning parks?
Field work: Columbia Center, Westlake Park revisited
Reflective introduction to portfolio, see posting below for more information
Think rich. Look Poor. Blog entry, Monday, September 10, 2007.
Charette casebook, multiple elements (again, see related list on blog archive). Page content will vary in these works, but please consider that your writing contributions here represent the bulk of your work this semester, in both content and length.
Field work: Westlake Park, City Hall Park, and Seattle City Hall (via bus tunnel)
Kerry Hall Songs. Blog entry.
Music of Kerry Hall, revision of blog entry, may also include audio and mapping elements.
Field work: Tashkent Park & Cal Anderson Park
Field work: Federal Courthouse, REI greenspace, and Cascade People's Center (for these, please cite any references you make to the GSA book provided at the Courthouse, or any research you use from either CPC or REI. For your convenience, weblinks to both these places are provided in the alphabetical list on the right)
Volunteer Park. Blog entry. As of today, only Brittany and Akasha have commented on this posting. Even though it is retroactive, please provide helpful links to either things you saw at the park, or reference guides you may have used in writing your responses to the site.
Field work: Volunteer Park, 1st draft. This writing should address (even if in passing) all of the sites we visited: reservoir, koi pond, playground, Bruce Lee's grave, conservatory, and water tower.
Field work: Volunteer Park, 2nd draft, with revisions from Kim's class and synthesis of Course Reader writings. How have other writers responded to issues concerning parks?
Field work: Columbia Center, Westlake Park revisited
Reflective introduction to portfolio, see posting below for more information
Saturday, November 24, 2007
Final portfolio DRAFT VERSION
Writing has been the primary means of presenting your research this semester, and the portfolio is an opportunity (for both you and I) to see your production assembled, providing us a shared space to look for patterns in your work, and assess your writing at this time. It is a chance for you to consider your writing as an integral part of your discipline, of your practice, of your output, and of your work. Integrated Studies is a writing-based course, developed to support you as an artist who writes.
During the semester you have been investigating sites ranging from physical locations (parks, offices, libraries, schools, a bus tunnel, and City Hall) to more conceptual spaces (Calvino’s text “Invisble Cities” and your own proposed charrette spaces). For the final writing exploration of this semester, you’ll be investigating your own body of writings as sites of inquiry.
By the time the portfolio is submitted, you will have had exposure to a broad range of writing opportunities (journal sketches, revised drafts, self-reflective essays, proposal/charrette briefs, presentations, revisions, synthesis of resources, and blog entries, among others). Is your writing moving in directions that are helpful to you as an artist? In what ways can you improve upon this process?
For your portfolio (and this list in consistent within all the Integrated Studies courses), please include the following elements:
1. A compilation/portfolio of all your writings from the semester-- this should include EVERYTHING* you have written (a chronological list of your submitted works is included at the bottom of this page, but this packet may also include any notes, research, or mix tapes you have found relevant in your process). All works (wherever possible) should be three-hole punched and submitted in a three-ring binder, labeled with your name and the course title.
2. From these works, you will select and foreground three (3) pieces of your writing from this semester which will be the basis of a self-reflective writing introducing the portfolio (see #3 below). These three papers should be clearly separated from the other works in your binder. They may be any three pieces you’ve written (they could be three distinct works, multiple revisions of a single work, or a combination of these things).
3. An introduction/self-reflective piece introducing your portfolio. For length, consider a writing at least two pages, although you may want to explore this writing; I'll read as much as you write (it takes me awhile, but yes, really), and it's a great opportunity to really unpack your work this semester and take some time with your output. What worked? What sucked? Ideally, this paper will include your responses to both the coursework and your own writings. What role does writing fulfill in your studio practice? How are you taking steps to develop your work? What direction would you like the writing aspect of the course take in the future? Are you seeing your writing process grow? What are your hopes for writing in the coming semester, or coming years at Cornish?
In conversation Monday, we looked deeply at a synthesis paper from one of Kim's earlier classes, considering ways of responding to works from other students. This exercise was designed to complement the experience of receiving feedback from Kim's group (prior to Thanksgiving), and pave the way for your own critical assessment of your writing process, while laying groundwork in peer responses for future papers.
In this self-reflective, introductory (to the portfolio) writing please also describe your process of selecting three pieces from the semester. Why are they vital to you now? What links the works together? Is your process of research the same from one piece to the next? Are there common elements in the writings? How are these writings exemplary of your progress this semester?
All works for this writing portfolio are due Monday, December 10, 2007.
Everything* should include--if you choose-- a fair selection of your notes or preliminary writings. You don't need to extract or copy all of the pages from your journal, but if there are specific writings or notes or diagrams you've taken that have helped you go to someplace new in your writing, then yes, by all means, include them here.
List of writings (the basis of the portfolio):
During the semester you have been investigating sites ranging from physical locations (parks, offices, libraries, schools, a bus tunnel, and City Hall) to more conceptual spaces (Calvino’s text “Invisble Cities” and your own proposed charrette spaces). For the final writing exploration of this semester, you’ll be investigating your own body of writings as sites of inquiry.
By the time the portfolio is submitted, you will have had exposure to a broad range of writing opportunities (journal sketches, revised drafts, self-reflective essays, proposal/charrette briefs, presentations, revisions, synthesis of resources, and blog entries, among others). Is your writing moving in directions that are helpful to you as an artist? In what ways can you improve upon this process?
For your portfolio (and this list in consistent within all the Integrated Studies courses), please include the following elements:
1. A compilation/portfolio of all your writings from the semester-- this should include EVERYTHING* you have written (a chronological list of your submitted works is included at the bottom of this page, but this packet may also include any notes, research, or mix tapes you have found relevant in your process). All works (wherever possible) should be three-hole punched and submitted in a three-ring binder, labeled with your name and the course title.
2. From these works, you will select and foreground three (3) pieces of your writing from this semester which will be the basis of a self-reflective writing introducing the portfolio (see #3 below). These three papers should be clearly separated from the other works in your binder. They may be any three pieces you’ve written (they could be three distinct works, multiple revisions of a single work, or a combination of these things).
3. An introduction/self-reflective piece introducing your portfolio. For length, consider a writing at least two pages, although you may want to explore this writing; I'll read as much as you write (it takes me awhile, but yes, really), and it's a great opportunity to really unpack your work this semester and take some time with your output. What worked? What sucked? Ideally, this paper will include your responses to both the coursework and your own writings. What role does writing fulfill in your studio practice? How are you taking steps to develop your work? What direction would you like the writing aspect of the course take in the future? Are you seeing your writing process grow? What are your hopes for writing in the coming semester, or coming years at Cornish?
In conversation Monday, we looked deeply at a synthesis paper from one of Kim's earlier classes, considering ways of responding to works from other students. This exercise was designed to complement the experience of receiving feedback from Kim's group (prior to Thanksgiving), and pave the way for your own critical assessment of your writing process, while laying groundwork in peer responses for future papers.
In this self-reflective, introductory (to the portfolio) writing please also describe your process of selecting three pieces from the semester. Why are they vital to you now? What links the works together? Is your process of research the same from one piece to the next? Are there common elements in the writings? How are these writings exemplary of your progress this semester?
All works for this writing portfolio are due Monday, December 10, 2007.
Everything* should include--if you choose-- a fair selection of your notes or preliminary writings. You don't need to extract or copy all of the pages from your journal, but if there are specific writings or notes or diagrams you've taken that have helped you go to someplace new in your writing, then yes, by all means, include them here.
List of writings (the basis of the portfolio):
Monday, November 19, 2007
Synthesis
So I've amended the calendar (link to the right) with the information below, but it seems helpful to clarify some of what I'm asking you to do in class today as well as over the break:
Today (Monday, 11/19) Kim's class will be joining us with the intention of having them mentor you through a process of writing analysis. Using a paper from one of Kim's prior classes (and I'll be providing you with a copy of this) as a model, they have been working to develop methods for offering feedback and creating a reflexive writing practice. My hope is that they will be sharing this process with you, allowing you to synthesize their practice with your own.
To support this work, I'm asking you to do a couple of things for Monday, 11/26:
First, read through the paper from Kim's class (entitled "Synthesis Paper, or How the Theory of Derive, Conversations with Imaginary Friends and Shouting in the Park Got Me a New Old Pair of Shoes") and make notes on it (literally, mark it up-- use it, amend it, question it, edit it). We'll begin next class by going through this together and seeing what trends emerge. How does the writer lead you to a topic? How are different sources integrated into the text?
Second, extending from the assistance you receive today (11/19), develop a NEW draft of your experience with Volunteer Park. This new draft should *do* two things: First, it should attempt to bring in/discuss/analyze some of the feedback you got from Kim's class, and second, it should attempt to synthesize some (or most) of the readings we've done on parks (from the Course Reader and in-class).
As I wrote on the calendar post:
The suggestions from Kim's class will be utilized in the next version, due Monday 11/26. For this version (keeping in mind that we will continue to work with this paper), please also consider the writings from the Course Reader II, and look for ways to synthesize your views with the views of Pierce Lewis, J.B. Jackson, Nicholson Baker, Alain de Botton and Francis Ponge (On Water was a hand-out in class). For example, how does your view of the urban park differ from Jackson's? How do you describe water distinct from Ponge, and what are those distinctions?
If you have any questions on the writing process we're adopting here (and it's a progression from the descriptions/experiences you've written thus far), please, please write them as comments on this post, and I'll respond to them as quickly as I can. The act of synthesizing new works into a text (drawing on different viewpoints, arguments, and topics)-- into your text-- is a crucial element in your work as a writer, and my hope is that we will be discussing the opportunities and difficulties frequently and deeply.
Go team.
Today (Monday, 11/19) Kim's class will be joining us with the intention of having them mentor you through a process of writing analysis. Using a paper from one of Kim's prior classes (and I'll be providing you with a copy of this) as a model, they have been working to develop methods for offering feedback and creating a reflexive writing practice. My hope is that they will be sharing this process with you, allowing you to synthesize their practice with your own.
To support this work, I'm asking you to do a couple of things for Monday, 11/26:
First, read through the paper from Kim's class (entitled "Synthesis Paper, or How the Theory of Derive, Conversations with Imaginary Friends and Shouting in the Park Got Me a New Old Pair of Shoes") and make notes on it (literally, mark it up-- use it, amend it, question it, edit it). We'll begin next class by going through this together and seeing what trends emerge. How does the writer lead you to a topic? How are different sources integrated into the text?
Second, extending from the assistance you receive today (11/19), develop a NEW draft of your experience with Volunteer Park. This new draft should *do* two things: First, it should attempt to bring in/discuss/analyze some of the feedback you got from Kim's class, and second, it should attempt to synthesize some (or most) of the readings we've done on parks (from the Course Reader and in-class).
As I wrote on the calendar post:
The suggestions from Kim's class will be utilized in the next version, due Monday 11/26. For this version (keeping in mind that we will continue to work with this paper), please also consider the writings from the Course Reader II, and look for ways to synthesize your views with the views of Pierce Lewis, J.B. Jackson, Nicholson Baker, Alain de Botton and Francis Ponge (On Water was a hand-out in class). For example, how does your view of the urban park differ from Jackson's? How do you describe water distinct from Ponge, and what are those distinctions?
If you have any questions on the writing process we're adopting here (and it's a progression from the descriptions/experiences you've written thus far), please, please write them as comments on this post, and I'll respond to them as quickly as I can. The act of synthesizing new works into a text (drawing on different viewpoints, arguments, and topics)-- into your text-- is a crucial element in your work as a writer, and my hope is that we will be discussing the opportunities and difficulties frequently and deeply.
Go team.
Wednesday, November 14, 2007
Volunteer Park
Please post all of your suggestions, research, and links as comments to this post.
We will be leaving Kerry Hall for Volunteer Park at 1:30 pm on Friday.
We will be leaving Kerry Hall for Volunteer Park at 1:30 pm on Friday.
Monday, November 12, 2007
Course reader and this week (Marc's class)
First off, Happy Veteran's Day to everyone checking in today. It was nice to sleep in and wake up to the Ellen Degeneres show this morning. The Chris Brown performance was awesome. Here's some Youtube of Ellen dancing to Chris, from an earlier appearance--
Okay, to work:
For this Wednesday, please come prepared with the Course Reader II (again, this one is available from Perfect Copy, located at the intersection of John and Broadway). They are doing an initial run of 13, so if you're #14+ that day, you may have to wait. If you would like to call ahead, their number is here
and for class, I'd like to discuss these first two articles--
Tosches, Nick. “Review of Gately’s Café”. The Nick Tosches Reader. New York: Da Capo Press, 2000, pp. 44-45. I can't believe they forgot this in the reader
and
De Botton, Alain. Excerpts from The Architecture of Happiness. New York: Pantheon Books, 2006.
also, skipping around a bit, please read this for Friday as well
Baker, Nicholson. Excerpt from The Mezzanine. New York: Vintage Contemporaries, 1990.
(the excerpt from de Botton is a bit of a departure from our current research into the "nature" of parks, but it provides a few frames that should be helpful as we move towards other spaces; the Tosches is waaay outside of our work, but his approach to writing on music/spaces seems really interesting to pursue)
Also, it may be helpful to look at the writings in relation to the field work we did last week at REI, Cascade People's Center, and the Federal Courthouse (links to REI and the CPC are located on the right), and discuss the writings/descriptions in the book we received from the GSA.
And, let's think about ways to conclude our readings/discussions of Calvino's Invisible Cities. What can we take from this work as we move forward?
Lastly (and yes, this post is gettin' real long), we'll discuss our field work for this coming Friday and next Monday. Go team.
Okay, to work:
For this Wednesday, please come prepared with the Course Reader II (again, this one is available from Perfect Copy, located at the intersection of John and Broadway). They are doing an initial run of 13, so if you're #14+ that day, you may have to wait. If you would like to call ahead, their number is here
and for class, I'd like to discuss these first two articles--
Tosches, Nick. “Review of Gately’s Café”. The Nick Tosches Reader. New York: Da Capo Press, 2000, pp. 44-45. I can't believe they forgot this in the reader
and
De Botton, Alain. Excerpts from The Architecture of Happiness. New York: Pantheon Books, 2006.
also, skipping around a bit, please read this for Friday as well
Baker, Nicholson. Excerpt from The Mezzanine. New York: Vintage Contemporaries, 1990.
(the excerpt from de Botton is a bit of a departure from our current research into the "nature" of parks, but it provides a few frames that should be helpful as we move towards other spaces; the Tosches is waaay outside of our work, but his approach to writing on music/spaces seems really interesting to pursue)
Also, it may be helpful to look at the writings in relation to the field work we did last week at REI, Cascade People's Center, and the Federal Courthouse (links to REI and the CPC are located on the right), and discuss the writings/descriptions in the book we received from the GSA.
And, let's think about ways to conclude our readings/discussions of Calvino's Invisible Cities. What can we take from this work as we move forward?
Lastly (and yes, this post is gettin' real long), we'll discuss our field work for this coming Friday and next Monday. Go team.
Monday, November 5, 2007
New post
Okay, so I'm still a bit under the weather (my weekend included something like twenty hours in bed watching South Park episodes and sleeping), but I've gone back and updated the calendar with the events/timeline we discussed on Friday. To recap,
Each week for the rest of the semester will, for the most part, follow the same format:
Mondays will be discussion days in the classroom, looking at (in parallel ways) the readings and our field work from the previous week. What are the links you're noticing, and in what ways can those links be made visible in your writings? This week for example, we'll look at Calvino and Ponge (again), in the context of our time spent in Cal Anderson and Tashkent Parks.
Wednesdays will most likely be field work of some sort, providing the framework for that week's writings. This week, we'll meet at MCC, then out to some nearby greenspaces.
Fridays (and keep in mind this is all a pretty delicate balancing act) will most likely be spent both in the field AND the classroom. It's a long enough span for us to discuss some texts, be outside the classroom, and look at developing your works as writers! Although this week we meet at MCC, then go to the Federal Courthouse, meeting with the GSA representative at 2pm.
The calendar is your friend.
Each week for the rest of the semester will, for the most part, follow the same format:
Mondays will be discussion days in the classroom, looking at (in parallel ways) the readings and our field work from the previous week. What are the links you're noticing, and in what ways can those links be made visible in your writings? This week for example, we'll look at Calvino and Ponge (again), in the context of our time spent in Cal Anderson and Tashkent Parks.
Wednesdays will most likely be field work of some sort, providing the framework for that week's writings. This week, we'll meet at MCC, then out to some nearby greenspaces.
Fridays (and keep in mind this is all a pretty delicate balancing act) will most likely be spent both in the field AND the classroom. It's a long enough span for us to discuss some texts, be outside the classroom, and look at developing your works as writers! Although this week we meet at MCC, then go to the Federal Courthouse, meeting with the GSA representative at 2pm.
The calendar is your friend.
Thursday, October 18, 2007
Conference schedule
Remember, these are approximate times, please try and make it a few minutes early, to keep things rolling.
Wed 10/24
4:15 Brittany
4:30 Lindsay
4:45 Ryan
5:00 Kelly
5:15 Akasha
5:30 Jason
5:45 Kati
Fri, 10/26
1:30 Shane
1:45 Jake
2:00 Cara
2:15 Corey
2:30 Amanda
2:45 Alex
3:00 Patrick
3:15 Katherine
3:30 Maia
3:45 Taylor
4:00 Graham
Wed 10/24
4:15 Brittany
4:30 Lindsay
4:45 Ryan
5:00 Kelly
5:15 Akasha
5:30 Jason
5:45 Kati
Fri, 10/26
1:30 Shane
1:45 Jake
2:00 Cara
2:15 Corey
2:30 Amanda
2:45 Alex
3:00 Patrick
3:15 Katherine
3:30 Maia
3:45 Taylor
4:00 Graham
Monday, October 15, 2007
Comments on Kerry Hall/Music, Here
As requested here's a post that can take comments. I'll move all of the previous post/comments tomorrow (I hope) and have everything assembled here for easy reference. And thanks again for all of the feedback and conversation today.
h and s class music blog
well i havent been by a computer for the whole entire weekend so i figured i would blog about the music i hear around kerry hall about now. when i would walk around kerry hall, i could hear the drum sets, the african drums, the jazz, and all sorts of classical music as well. it was really cool to just walk and pick up any type of music or sounds you could. you could also have music in your head as you were walking. for some reason, i started to think about the brandenburg concertos when i was walking down the hallways! who knows, this school gives off all sorts of wicked vibes. thats all for now i guess. peace .alex.
Kerry Hall Songs
Basement computer lab: "Love Machine" because of all the computers/machines
Basement kitchen: "Nobody Loves Me" worm song because when I looked out the tiny window I felt very small
First floor copy room: "Sweet Dreams" by La Bouche because the copy machines make this snoring noise
Second floor hallway: "Let Go" by Frou Frou because it was so quiet and empty and reminded me of Garden State
Second floor bathroom: "Far Away" by Carol King because it's a tiny place and seems far away
Basement kitchen: "Nobody Loves Me" worm song because when I looked out the tiny window I felt very small
First floor copy room: "Sweet Dreams" by La Bouche because the copy machines make this snoring noise
Second floor hallway: "Let Go" by Frou Frou because it was so quiet and empty and reminded me of Garden State
Second floor bathroom: "Far Away" by Carol King because it's a tiny place and seems far away
Sunday, October 14, 2007
Kerry Hall Songs
3rd Floor Hallway-
Classic piano music. Specifically, songs that are typically used when at the barre.
Elevator-
The Greys Anatomy soundtrack. Anybody who watches the show will understand.
Digital Lab (Basement)-
"Turning Japanese" by The Vapors
I was overwhelmed by the abundance of computer technology.
Lounge-
"Brick House" by The Commodores
Simply because the first thing I noticed when I walked in was the brick wall. :P
Rm 114-
I don't know specifically what song I was thinking of, but in general this room made me think of Buddy Holly. The reason for this is that the teacher who had just finished up class really wanted to help me find inspiration in this room and proceded to show me the various instruments in there, one of which happened to be a harpischord, which I know Buddy Holly used in some of his songs. I think probably if I had to pick just one song I would pick "Rave On" because thats the song I immediately think of when I think of Buddy Holly...but I don't even know if that actually uses the harpischord or not.
-Kelly Middleton
Classic piano music. Specifically, songs that are typically used when at the barre.
Elevator-
The Greys Anatomy soundtrack. Anybody who watches the show will understand.
Digital Lab (Basement)-
"Turning Japanese" by The Vapors
I was overwhelmed by the abundance of computer technology.
Lounge-
"Brick House" by The Commodores
Simply because the first thing I noticed when I walked in was the brick wall. :P
Rm 114-
I don't know specifically what song I was thinking of, but in general this room made me think of Buddy Holly. The reason for this is that the teacher who had just finished up class really wanted to help me find inspiration in this room and proceded to show me the various instruments in there, one of which happened to be a harpischord, which I know Buddy Holly used in some of his songs. I think probably if I had to pick just one song I would pick "Rave On" because thats the song I immediately think of when I think of Buddy Holly...but I don't even know if that actually uses the harpischord or not.
-Kelly Middleton
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