2019 Fall

This course will present material on the history of ceramics from the Neolithic to the beginning of the 20th Century, The course is structured around 7 aesthetics and 7 themes specific to ceramics, and one of these will be reviewed each week through a visual presentation followed by a discussion of an assigned reading.

 

Beyond chronology and geography, the material presented and discussed weekly will focus on the social and aesthetic contexts, in order to engage with an examination of meaning in ceramics and analyze the fundamental role it plays within history and culture, as well as art, design, craft and media practices. Research, presentations, and written assignments are an integral part of this course.

 

This course is of interest to any student attending Emily Carr University, whether they are in the Art, Design or Media programs. We will examine ceramics relationship to Painting and Drawing, Printmaking, Illustration and Photography, Sculpture and Architecture, Design and Media. Whatever your area of interest, this course will be useful in expanding your understanding of your own practice as it relates to history and to cultures.

 

CEIE-160-F001-2019 - Portfolio Development I

A resource for students taking Cynthia Nugent's Editorial Illustration course offered by ECUAD Continuing Studies

HUMN-305-F090-2019

Vocalese

This course explores the often rather enigmatic social and aesthetic relationships that have developed between modern aural and modern visual space since the middle of the twentieth century. We will pay attention to the acoustic ecology movement, international traditions of avant-garde and experimental composition, soundscaping and the emergence of world musics.

However, we will also be listening for less easily defined examples of the way sound helps shape visual arts, cinema, architecture and so forth by paying attention to such things as the sound design in sub-Saharan African cinema, the textures of experimental jazz, silences, the murmur of conversation in queues, the sound made by buildings and how to correctly listen to dust on vinyl records.

From this starting point, the aim of the course is to consider and engage in a broader, global history of the technical and poetic production of aural social space and the role of art practices in that. For this iteration of the course we will focus on the notion of accent as a way of thinking about, among other things, voices and archives.

In preparation, you might like to read Michael Nyman’s book Experimental Music or Cornelius Cardew’s essay ‘Toward an Ethic of Improvisation’ .

This course provides students with the opportunity to propose and develop a self-directed body of work. Sections are offered by a single instructor or a team-taught model, with an interdisciplinary focus. Through artistic production, research, discussions, writing and critique, students are expected to increase their understanding of the content and context of their process and production as well as their knowledge of contemporary art. Students meet regularly for group meetings as well as in one-to-one tutorials with their instructor(s). Critiques and discussions complement studio production where considerable independent time and maturity is expected.