Provides an opportunity for a hands-on project development experience and emphasizes intellectual growth as well as the acquisition of technical skills. Students attend regular meetings to present and critique their work and discuss its implications. This course fulfills the first half of the Comparative Media Studies workshop sequence requirement for entering graduate students. The workshop sequence provides an opportunity for a creative, hands-on project development experience and emphasizes intellectual growth as well as the acquisition of technical skills. The course is designed to provide practical, hands-on experience to complement students' theoretical studies.

Diversity begets creativity - in this seminar we tap the amazing power of swarm creativity on the Web by studying and working together as Collaborative Innovation Networks (COINs). As interdisciplinary teams of MIT management, SCAD design, University of Cologne informatics, and Aalto University software engineering students we will explore how to discover latest trends on the Web, and how to make them succeed in online social networks. We study a wide range of methods for predictive analytics (coolhunting) and online social marketing (coolfarming), mostly based on social network analysis and the emerging science of collaboration. Students will also learn to use our own unique MIT-developed Condor tool for Web mining, social network analysis, and trend prediction.

The Workshop on Deliberative Democracy and Dispute Resolution,sponsored by the Program on Negotiation at Harvard Law School and the Flora and William Hewlett Foundation, is a two-day conference that brings together dispute resolution professionals and political theorists in the field of deliberative democracy.

This class uses lab exercises and a workshop setting to help students develop a solid understanding of the planning and public management uses of geographic information systems (GIS). The goals are to help students: acquire technical skills in the use of GIS software; acquire qualitative methods skills in data and document gathering, analyzing information, and presenting results; and investigate the potential and practicality of GIS technologies in a typical planning setting and evaluate possible applications. The workshop teaches GIS techniques and basic database management at a level that extends somewhat beyond the basic thematic mapping and data manipulation skills included in the MCP core classes (viz. 11.204 and 11.220). Instead of focusing on one thematic map of a single variable, students will concentrate on more open-ended planning questions that invite spatial analysis but will require judgment and exploration to select relevant data and mapping techniques; involve mixing and matching new, local data with extracts from official records (such as census data, parcel data and regional employment and population forecasts); utilize spatial analysis techniques such as buffering, address matching, overlays; use other modeling and visualization techniques beyond thematic mapping; and raise questions about the skills, strategy, and organizational support needed to sustain such analytic capability within a variety of local and regional planning settings. Students seeking graduate credit should enroll in the subject 11.520; undergraduates should enroll in the subject 11.188. The subjects meet together and have nearly identical content. ArcGIS/ArcMap/ArcInfo Graphical User Interface is the intellectual property of ESRI and is used herein with permission. Copyright ĺŠ ESRI. All rights reserved.

This course surveys the increasing interaction between communities, as the barrier of distance succumbed to both curiosity and new transport technologies. It explores Western Europe and the United States' rise to world dominance, as well as the great divergence in material, political, and technological development between Western Europe and East Asia post–1750, and its impact on the rest of the world. It examines a series of evolving relationships, including human beings and their physical environment; religious and political systems; and sub-groups within communities, sorted by race, class, and gender. It introduces historical and other interpretive methodologies using both primary and secondary source materials.

This semester, we will read writing about travel and place from Columbus's Diario through the present. Travel writing has some special features that will shape both the content and the work for this subject: reflecting the point of view, narrative choices, and style of individuals, it also responds to the pressures of a real world only marginally under their control. Whether the traveler is a curious tourist, the leader of a national expedition, or a starving, half-naked survivor, the encounter with place shapes what travel writing can be. Accordingly, we will pay attention not only to narrative texts but to maps, objects, archives, and facts of various kinds. Our materials are organized around three regions: North America, Africa and the Atlantic world, the Arctic and Antarctic. The historical scope of these readings will allow us to know something not only about the experiences and writing strategies of individual travelers, but about the progressive integration of these regions into global economic, political, and knowledge systems. Whether we are looking at the production of an Inuit film for global audiences, or the mapping of a route across the North American continent by water, these materials do more than simply record or narrate experiences and territories: they also participate in shaping the world and what it means to us. Authors will include Olaudah Equiano, Caryl Philips, Claude L?vi-Strauss, Joseph Conrad, Jamaica Kincaid, William Least Heat Moon, Louise Erdrich, ?lvar N Brazil|Caribbean|Coetzee|Columbus|Culture|Defoe|De Lery|Drama|Essay|Ethnicity|Europe|Film|French|History|Literature|Modern|Montaigne|Narrative|North America|Novel|Poetry|Religion|Report|Rowlandson|Travel|Walcott|William Shakespeare|Writing en http://creativecommons.org/licenses/by-nc-sa/3.0/ Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 remix-and-share student| Visual|Textual Curriculum/Instruction|Professional Development published 2 200
32873 learning-from-the-past-drama-science-performance-spring-2009 21L.016Spring2009 2010-10-07T04:39:16 Learning from the Past: Drama, Science, Performance, Spring 2009 1/1/2009 Henderson, Diana|Sonenberg, Janet | | M.I.T. M.I.T.:M.I.T. OpenCourseWare https://www.oercommons.org/courses/learning-from-the-past-drama-science-performance-spring-2009 https://ocw.mit.edu/courses/literature/21l-016-learning-from-the-past-drama-science-performance-spring-2009/ Arts and Humanities|Performing Arts|Philosophy|Religious Studies|World Cultures|Astronomy|Chemistry|Physics Full Course Downloadable docs|Text/HTML Post-secondary This class explores the creation (and creativity) of the modern scientific and cultural world through study of western Europe in the 17th century, the age of Descartes and Newton, Shakespeare, Milton and Ford. It compares period thinking to present-day debates about the scientific method, art, religion, and society. This team-taught, interdisciplinary subject draws on a wide range of literary, dramatic, historical, and scientific texts and images, and involves theatrical experimentation as well as reading, writing, researching and conversing. The primary theme of the class is to explore how England in the mid-seventeenth century became "a world turned upside down" by the new ideas and upheavals in religion, politics, and philosophy, ideas that would shape our modern world. Paying special attention to the "theatricality" of the new models and perspectives afforded by scientific experimentation, the class will read plays by Shakespeare, Tate, Brecht, Ford, Churchill, and Kushner, as well as primary and secondary texts from a wide range of disciplines. Students will also compose and perform in scenes based on that material."

Students, scholars, bloggers, reviewers, fans, and book-group members write about literature, but so do authors themselves. Through the ways they engage with their own texts and those of other artists, sampling, remixing, and rethinking texts and genres, writers reflect on and inspire questions about the creative process. We will examine Mary Shelley's reshaping of Milton's Paradise Lost, German fairy tales, tales of scientific discovery, and her husband's poems to make Frankenstein (1818, 1831); Melville's redesign of a travel narrative into a Gothic novella in Benito Cereno (1856); and Alison Bechdel's rewriting of Oscar Wilde's The Importance of Being Earnest (1895) in her graphic novel Fun Home (2006). Showings of film versions of some of these works will allow us to project forward in the remixing process as well.

In this course we will read essays, novels, memoirs, and graphic texts, and view documentary and experimental films and videos which explore race from the standpoint of the multiracial. Examining the varied work of multiracial authors and filmmakers such as Danzy Senna, Ruth Ozeki, Kip Fulbeck, James McBride and others, we will focus not on how multiracial people are seen or imagined by the dominant culture, but instead on how they represent themselves. How do these authors approach issues of family, community, nation, language and history? What can their work tell us about the complex interconnections between race, gender, class, sexuality, and citizenship? Is there a relationship between their experiences of multiraciality and a willingness to experiment with form and genre? In addressing these and other questions, we will endeavor to think and write more critically and creatively about race as a social category and a lived experience.

Does race still matter, as Cornel West proclaimed in his 1994 book of that title, or do we now live, as others maintain, in a post-racial society? The very notion of what constitutes race remains a complex and evolving question in cultural terms. In this course we will engage this question head-on, reading and writing about issues involving the construction of race and racial identity as reflected from a number of vantage points and via a rich array of voices and genres. Readings will include literary works by such writers as Toni Morrison, Junot Diaz, and Sherman Alexie, as well as perspectives on film and popular culture from figures such as Malcolm Gladwell and Touré.

Studies the relation between imaginative texts and the culture surrounding them. Emphasizes ways in which imaginative works absorb, reflect, and conflict with reigning attitudes and world views. Instruction and practice in oral and written communication. Topic for Fall: Ethical Interpretation. Topic for Spring: Women Reading, Women Writing.

MIT students are challenged daily to solve for x, to complete four problem sets, two papers, and prepare for an exam worth 30% of their grade... all in one night. When they do stop to breathe, it's for a shower or a meal. What does this have to do with creative writing? Everything. Creative writing and MIT go together better than you might imagine.

This course focuses on traditional nature writing and the environmentalist essay. Students will keep a web log as a journal. Writings are drawn from the tradition of nature writing and from contemporary forms of the environmentalist essay.

Subject focused on the ways writers transform experience into finished and polished writing in the forms of memoir, autobiography, and essay. Frequent writing assignments, regular revisions, and short oral presentations are required. Readings and specific writing assignments vary by section. See subject's URL for enhanced section descriptions. Emphasis is on developing students' ability to write clear and effective prose. Students can expect to write frequently, to give and receive response to work in progress, to improve their writing by revising, to read the work of accomplished writers, and to participate actively in class discussions and workshops.

This course is an examination of the formal structural and textual variety in poetry. Students engage in extensive practice in the making of poems and the analysis of both students' manuscripts and 20th-century poetry. The course attempts to make relevant the traditional elements of poetry and their contemporary alternatives. There are weekly writing assignments, including some exercises in prosody.

This course is an introduction to the short story. Students will write stories and short descriptive sketches. Students will read great short stories and participate in class discussions of students' writing and the assigned stories in their historical and social contexts.

Exploration of formal and informal modes of writing nonfiction prose. Extensive practice in composition, revision, and editing. Reading in the literature of the essay from the Renaissance to the present, with an emphasis on modern writers. Classes alternate between discussion of published readings and workshops on student work. Individual conferences. This is a course focused on the literary genre of the essay, that wide-ranging, elastic, and currently very popular form that attracts not only nonfiction writers but also fiction writers, poets, scientists, physicians, and others to write in the form, and readers of every stripe to read it. Some say we are living in era in which the essay is enjoying a renaissance; certainly essays, both short and long, are at present easier to get published than are short stories or novels, and essays are featured regularly and prominently in the mainstream press (both magazines and newspapers) and on the New York Times bestseller books list. But the essay has a history, too, a long one, which goes back at least to the sixteenth-century French writer Montaigne, generally considered the progenitor of the form. It will be our task, and I hope our pleasure, to investigate the possibilities of the essay together this semester, both by reading and by writing.

This course seeks to provide a supportive context for students to grow significantly as writers by discovering and engaging with issues that matter to them. Writing on social and ethical issues, we can see ourselves within a tradition of authors such as Charles Dickens, Frederick Douglass, Elizabeth Cady Stanton, George Orwell, Rachel Carson, John F. Kennedy and Martin Luther King, Jr., who have used the power of the pen to inspire social change.

This course builds on the composition techniques practiced in 21M.303 Writing in Tonal Forms I. Students undertake further written and analytic exercises in tonal music, including a sonata-form movement for string quartet. Students will also have the opportunity to write short works that experiment with the expanded tonal techniques of the late 19th and early 20th centuries. Musicianship laboratory is required.

Written and analytic exercises based on 18th- and 19th-century small forms and harmonic practice found in music such as the chorale preludes of Bach; minuets and trios of Haydn, Mozart, and Beethoven; and the songs and character pieces of Schubert and Schumann. Musicianship laboratory is required.

William Shakespeare didn't go to college. If he time-traveled like Dr. Who, he would be stunned to find his words on a university syllabus. However, he would not be surprised at the way we will be using those words in this class, because the study of rhetoric was essential to all education in his day. At Oxford, William Gager argued that drama allowed undergraduates "to try their voices and confirm their memories, and to frame their speech and conform it to convenient action": in other words, drama was useful. Shakespeare's fellow playwright Thomas Heywood similarly recalled: In the time of my residence in Cambridge, I have seen Tragedies, Comedies, Histories, Pastorals and Shows, publicly acted…: this is held necessary for the emboldening of their Junior scholars, to arm them with audacity, against they come to be employed in any public exercise, as in the reading of Dialectic, Rhetoric, Ethic, Mathematic, the Physic, or Metaphysic Lectures. Such practice made a student able to "frame a sufficient argument to prove his questions, or defend any axioma, to distinguish of any Dilemma and be able to moderate in any Argumentation whatsoever" (Apology for Actors, 1612). In this class, we will use Shakespeare's own words to arm you "with audacity" and a similar ability to make logical, compelling arguments, in speech and in writing. Shakespeare used his ears and eyes to learn the craft of telling stories to the public in the popular form of theater. He also published two long narrative poems, which he dedicated to an aristocrat, and wrote sonnets to share "among his private friends" (so wrote Francis Meres in his Palladis Tamia, 1598). Varying his style to suit different audiences and occasions, and borrowing copiously from what he read, Shakespeare nevertheless found a voice all his own–so much so that his words are now, as his fellow playwright Ben Jonson foretold, "not of an age, but for all time." Reading, listening, analyzing, appreciating, criticizing, remembering: we will engage with these words in many ways, and will see how words can become ideas, habits of thought, indicators of emotion, and a means to transform the world.