The New School | Continuing Education Catalog | Fall 2016

i

Art & design at PARSONS Music at MANNES Writing, languages, Media, management, & MORE

fall 2016



FILL IN THE BLANKS. CHANGE YOUR FUTURE. Fill in the blanks to reveal your ideal future with the right continuing education course or certificate program.

I always wanted to be a

PROGRAM/COURSE

I’m going to feel Discovering new of

CONTENTS

and

by the end of the term. will deepen my understanding

INSURMOUNTABLE SYSTEM

.

, make

, and create a whole new

the

Flexible Program Options Resources

5

Campus Map

8

Digital Design

12

Graphic Design

14

Fashion Design and Fashion Business

20

Fine Arts, Foundation, and Photography

26

Interior Design, Decorative Arts, and Architecture Studies

Schools of Public Engagement

PASSIONATE PURSUIT

ACTION-MOVIE VERB

2 4

Parsons School of Design

my world.

DRAMATIC VERB

CONVENTION-DEFYING NOUN

I can’t wait to challenge

I’m going to

will

GREAT THINGS

SCINTILLATING SUBJECT

FANTASTIC NOUN

, but I never had the

to pursue it. But today is a new day.

SUPERPOWER

Taking

ICONIC ARCHETYPE

!@$X%*!

THINK BIG!

.

out of my next class.

32

Media, Film, and Technology

48

Creative Writing

Studies in Culture and Society

61

Arts and Social Engagement

65

Ethics, Power, and Justice

69

Literature, Culture, and Democracy

71

Gender and Sexuality Studies

72

Race and Ethnicity Studies

75

Psychology

77

Creative Arts and Healing Food Studies

79

82

Languages

96

Management, Leadership, and Entrepreneurship Mannes School of Music

101

103

Registration Information

106

University Information and Administrative Policies

Performance Ensembles

Flexible Program Options

newschool.edu/certificates.

Graphic and Digital Design

Fashion Design

Fashion Business

Media Studies, no prior advisor approval is

NONCREDIT

Fees listed in the catalog are for noncredit

Fine Arts

required, and you can take advantage of

The majority of courses in this bulletin can be

registration. If you elect to take a course for

Interior Design

credit, tuition of $1,190 and $1,490 for the

pay tuition and fees as listed in the course descriptions. As a noncredit student, you receive the instructor’s evaluation of any assigned coursework you complete, but no letter grades

Schools of Public Engagement and Parsons courses, respectively, will be assessed in addition to these fees.

MEDIA AND WRITING

Film Production

Screenwriting

Documentary Media Studies

Media Management

are reported.

CERTIFICATE PROGRAMS

Except for students in certificate programs

You know what it takes to succeed in your

(right), the university does not maintain a

chosen field, and you’re ready to take the next

permanent or official record of noncredit

step. Parsons, Mannes, and the Schools of Public

enrollment. We can provide a noncredit record of

Engagement offer certificates of completion in

attendance, which may be used for tuition

various fields of study. A certificate attests to

Harm Reduction Psychotherapy

reimbursement from your employer or for your

successful completion of a structured program

Gender and Sexuality Studies

own records. This record of attendance must be

of courses designed to establish proficiency in a

requested during the term in which the course is

specific field. Add a credential that employers

taken, and there is a fee for this service. Course

will notice: a certificate in some of the nation’s

prices listed throughout are for noncredit

fastest-growing industries, from The New School’s

English as a Second Language

registration.

well-respected programs in design, business,

ESL + Design

ESL + Food

Teaching English to Speakers

and beyond.

CREDIT

BENEFITS

Consider registering for general credit in order to

• Fast-track development of your skill set in a

test your ability to handle college-level study, qualify for a salary increment from the Board of Education (NYC or other employer), make up for educational deficiencies (prerequisites for an

tailored to meet working professionals’ need for flexibility • Access to many of the same student services and resources as traditional matriculated

for graduate school, or advance in your career.

students

college credits can register on a general credit basis for most courses in this bulletin, accumulating a maximum of 24 credits without matriculating. The student receives a letter grade in each course and is entitled to tran-

• Measurable growth in your area of focus • Increased earning potential from adding high-value skills to your résumé • Demonstrated dedication to your field from committing to a specialized program of study

scripts of record.

Each student is responsible for meeting the specific requirements for credit for the course: the books to be read, the paper(s) to be written, and other criteria used for evaluation.

CERTIFICATE PROGRAM OPTIONS Indicates a certificate that is offered on a noncredit basis, meaning few if any prerequisites, pass/fail grading, and

Credits are usually transferable to undergradu-

a simple application process. In many

ate degree programs, but it is seldom possible

cases, you can just go ahead and

to determine in advance whether credits will be

sign up!

accepted by a particular institution; that will be decided by the school and/or degree program.

Students taking courses for transfer to another school should confirm that the credits will be accepted before they register.

LIBERAL ARTS AT THE NEW SCHOOL FOR SOCIAL RESEARCH

If you are interested in pursuing a noncredit certificate in art and design at Parsons or in

self-service registration online at newschool.edu/certificates.

For all other certificate programs, please consult with the appropriate advisor prior to registration to discuss your options, registration process, and requirements.

ONLINE The New School has always been at the forefront of online learning, and we continue to bring adult students all over the world an array of innovative opportunities for study with the renowned faculties of Parsons School of Design and the Schools of Public Engagement.

ESL

Visit newschool.edu/online to learn more.

of Other Languages

focused, rigorous environment on a schedule

MA, for example), fulfill a language requirement

A student interested in earning undergraduate



Requirements vary by program. Get started at

taken on a noncredit basis. Noncredit students

2

ART AND DESIGN AT PARSONS

Indicates a graduate-level certificate,

meaning that the program is most appropriate for those who have already attained their bachelor’s degree or equivalent.

BUSINESS AND PROFESSIONAL DEVELOPMENT

Leadership and Change

Organization Development

3

Resources for Continuing Education

Campus Directory

STUDENT ID CARD Noncredit students will be mailed a nonphoto paper ID card at the beginning of every semester. Most certificate students and

Johnson/ Kaplan Hall 66 W 12 St

Fanton Hall/ Welcome Center 72 Fifth Ave

13th Street Residence 118 W 13 St

20th Street Residence 300 W 20 St

Eugene Lang College 65 W 11 St

Arnhold Hall 55 W 13 St

Loeb Hall 135 E 12 St

113 University Place 113 University Pl

Stuyvesant Park 318 E 15 St

The New School for Drama 151 Bank St

K

Lang Annex 64 W 11 St

students registered for general credit are entitled to receive The New School’s photo ID, the request a nonphoto version of the newcard.

Parsons East 25 E 13 St

You can obtain your photo ID at the Campus Card Services Office in the bottom level of the University

University Center/ Kerrey Hall 63 Fifth Ave and 65 Fifth Ave

Sheila C. Johnson Design Center 2 W 13 St, 68 Fifth Ave, and 66 Fifth Ave

List Center 6 E 16 St

newcard. Long-distance learners can also

71 Fifth Avenue 71 Fifth Ave

80 Fifth Avenue 80 Fifth Ave

Center, 72 Fifth Avenue, New York, NY 10003.

79 Fifth Avenue 79 Fifth Ave

LIBRARIES Emphasizing the social sciences, the List Center Library is the principal library for New School

w 21 st

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Gramercy park

students. The University Center Library houses a rich art and design collection. The College of

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Chelsea

Performing Arts library, at Arnhold Hall, is devoted to European and American classical music.

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card to use the library. Find more information at

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personal photo ID with their nonphoto paper ID

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the newcard. Noncredit students must show a

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Library services are available to all students with

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meatpacking district

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plug-in stations for laptops. To learn more about

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visit

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Continuing education students at The New School get up to 60 percent off the retail price of

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technology/technology-labs.

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the options available to you as part of your directories at newschool.edu/information-

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All continuing education students have access

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WI-FI ACCESS AND TECHNOLOGY

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library.newschool.edu.

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PARSONS SCHooL OF DESIGN

Digital DESIGN Digital design classes emphasize design and creativity while providing intensive technical training. Instruction is flexible and inclusive, enabling both the beginner and the advanced student to make great strides during the semester. Find more courses on Advertising and Marketing on page 97.

WORDPRESS BASICS David Marcinowski X1 | 5 weeks | Oct. 10–Nov. 11 This course is an introduction to WordPress, a powerful open-source content management

#LearnGrowRepeat Continuing Education Expo & Open House

system. Learn how to use and customize this

Tuesday, August 2, 2016, 6:30–8:30 pm

system to create dynamic websites. Students

University Center, 63 Fifth Avenue, NYC

are introduced to the basics of CSS, HTML, and Javascript. 1 CREDIT

Ready to go back to school on your own

PCDD 1300 $360

terms? Fill in the blanks to your next learning journey and #LearnGrowRepeat

Graphic and Digital Design Certificate Can be completed online, on campus, or through a combination of online and on-campus study MAJOR CODE: GRDS

Required Courses: • Color Theory, Graphic Design I, and Digital Graphics w/Illustrator I OR Graphic/Digital Basic Core plus • Digital Imaging w/Photoshop I • Graphic Design History plus • Typography I, Digital Layout with 8

WEB DESIGN BASICS Andrea Cohn X1 | 5 weeks | Oct. 10–Nov. 11 Create a Web presence using the basic structure of HTML5. Learn the basic rules of CSS3 and how to format text, optimize images, embed video and sound, create hyperlinks, and develop effective interface design and navigation.

Aspects of Web technology, such as hosting, domains, self-promotion, and content management systems (CMS), are discussed. Prerequisite: Mac Basics, Photoshop Basics, or equivalent experience. Online class requires (free online) code editors such as TextWrangler for Mac or Notepad++ for PC. 1 CREDIT PCDD 0510 $360

this fall with continuing education courses

RESPONSIVE DESIGN FOR DIGITAL LAYOUTS Iva Son X1 | 5 weeks | Oct. 10–Nov. 11

chance to win prizes with raffles and

various screen formats (laptops, large desktop

giveaways and meet with continuing

monitors, tablets, and mobile phones) and

education program directors and faculty.

orientation style shifts. Projects focus on producing design solutions that emphasize the principles of Web design and Web-based typography in elastic and liquid layouts. Students also experiment with designing mobile-first versus desktop-first approaches and acquire specific responsive Web development knowledge, including viewport, CSS media queries, respon-

design elective course OR three (3) digital

newschool.edu/parsons-certificates.

Frederick Murhammer A | 10 sessions | beg. Sept. 13 | T 7–9:50 pm

COMPUTING SKILLS PREPARATORY CLASSES

Instructor to be announced X2 | 9 weeks | Oct. 10–Dec. 16 Students learn how to hand-code webpages with HTML and Cascading Style Sheets. They

Macintosh Basics Anne Finkelstein A | 1 session | Sept. 10 | Sat 10 am–3:50 pm This course is for students who have little or no experience with Macintosh Operating Systems.

Proficiency with the Macintosh Operating System is necessary for most of the computer courses that follow.

PCDD 0101 $180

discuss and master the elements of good Web design, the basics of user interface, and recommended standards. Toward the end of the course, each student designs a cohesive website. Prerequisite: Mac Basics or equivalent experience. Online class requires (free online) code editors such as TextWrangler for Mac or Notepad++ for PC. 2 CREDITS PCDD 1100 $720

• Get one-on-one advising and sign up for courses on-site. Sample CE courses through pop-up classes.

• Enjoy being serenaded by New School musicians.

• Create, innovate, and become inspired by fun interactive activities.

RSVP at newschool.edu/TheNewCEExpo.

9

1 CREDIT

PCDD 0515 $360

ILLUSTRATOR BASICS Thomas Reed

Iva Son X1 | 9 weeks | Aug. 29–Oct. 28

one-on-one advising; and more!

Looking for more goodies? You’ll have a

Prerequisite: basic knowledge of HTML/CSS.

Learn more and get started at

media, and art; live music performances;

students create designs for the Web and its

sive images, and cross-browser site testing.

WEB DESIGN I

joining us for free pop-up classes in writing,

Using practices related to flexible Web design,

InDesign, and one (1) digital or graphic and/or graphic design elective courses

and certificates at The New School. Start by

3D MODELING FUNDAMENTALS Stuart Rentzler

A | 5 sessions | beg. Nov. 5 | Sat 10 am–12:50 pm

Greg Lovinski X1 | 5 weeks | Oct. 10–Nov. 11 Learn the fundamentals of this powerful

A | 10 sessions | beg. Sept. 14 | W 7–9:50 pm

vector-based illustration and graphic design

This course is an introduction to computer

program. Draw and design using the basic tools

graphics for 3D modeling, animation, and 3D

and features. Create curves, lines, and shapes to

printing exploration. Students develop a solid

make objects. Manipulate, copy, and color your

understanding of the basic concepts underlying

objects and arrange them into smooth-lined,

3D software and learn how to apply concepts

clean, scalable graphics or artwork for both print

to create quality images and assets. Basic

and Web. Prerequisite: Mac Basics or equivalent.

animation techniques are introduced, but

Online students must have Illustrator CS or

modeling is the focus. The primary software

higher (Mac or Windows platform). 1 CREDIT

used is Maya. Students can use either a Mac or a PC for this course. Free Autodesk software

PCDD 0502 $360

can be downloaded from students.autodesk.com.

2 CREDITS

Find all course listings and register at newschool.edu/ce/classes or by calling 212.229.5620.

PCDD 1153 $720

PHOTOSHOP BASICS Thomas Reed A | 5 sessions | beg. Sept. 17 | Sat 10 am–12:50 pm

eNewsletter sign-up: newschool.edu/TheNewCEInfo

Kenneth Golden X1 | 5 weeks | Oct. 10–Nov. 11 Learn the fundamentals of this digital image manipulation software application. Acquaint

PARSONS SCHooL OF DESIGN

Digital DESIGN

yourself with the intuitive interface, features, and tools. Customize palettes, control layers, tweak scans, and master selections to create the look you want. Prerequisite: Mac Basics or equivalent. Online students must have Photoshop CS or higher (Mac or Windows platform). 1 CREDIT PCDD 0503 $360

DIGITAL GRAPHICS WITH ILLUSTRATOR I Thomas Reed A | 10 sessions | beg. Sept. 15 | Th 7–9:50 pm

Instructor to be announced B | 10 sessions | beg. Sept. 17 | Sat 1–3:50 pm

Instructor to be announced X1 | 9 weeks | Aug. 29–Oct. 28

Instructor to be announced X2 | 9 weeks | Oct. 10–Dec. 16 This course is for the design student who needs

Parsons Continuing Education Fall Info Session Tuesday, August 16, 2016, 6:30–8:00 pm Sheila C. Johnson Design Center, Kellen Auditorium Join us for the Parsons Continuing Education fall information session, given by our program director, Melinda Wax. Faculty will be on hand to discuss the latest courses and noncredit certificate options in all areas of study, including digital and graphic design, fashion design and business, fine arts,

a comprehensive and intensive introduction to Illustrator. Learn to draw, delineate, and design electronically with this standard vector-based illustration and graphic design program. Create curves, lines, and shapes to make objects that can be colored, manipulated, moved, duplicated, scaled, and rotated, generating smooth-lined,

RSVP at newschool.edu/parsonsinfo.

10

and the Web. Use this course to make Illustrator an integral part of your digital graphics tool kit.

Prerequisite: Mac Basics, Illustrator Basics, or equivalent. Online students must have Illustrator CS or higher (Mac or Windows platform).

2 CREDITS

PCDD 1404 $720

DIGITAL LAYOUT WITH ADOBE INDESIGN A | 10 sessions | beg. Sept. 17 | Sat 10 am–12:50 pm

Andrea Cohn Instructor to be announced X2 | 9 weeks | Oct. 10–Dec. 16

A | 10 sessions | beg. Sept. 12 | M 7–9:50 pm

In this class, students explore the fundamentals

Instructor to be announced

of InDesign, including all aspects of the page

Instructor to be announced X1 | 9 weeks | Aug. 29–Oct. 28

Alisa Evdokimov X2 | 9 weeks | Oct. 10–Dec. 16 Acquire a working knowledge of this industrystandard software, used for print, webpages, animation, presentation, video production, and enhancement of traditional and digital photography. Explore scanning and color correction, tools and layers for image compositing, elemental retouching, and type treatments.

layout process. Importing, creating type, and working with imagery are covered extensively.

Production shortcuts for print, PDF, and the Web are discussed. Prerequisite: Mac Basics or equivalent. Online students must have InDesign CS or higher (Mac or Windows platform). 2 CREDITS PCDD 1450 $720

DIGITAL DRAFTING AND DESIGN

Prerequisite: Mac Basics, Photoshop Basics,

RHINO I

or equivalent. Online students must have

Ian Gordon

Photoshop CS or higher (Mac or Windows

A | 10 sessions | beg. Sept. 17 | Sat 1–3:50 pm

platform). 2 CREDITS

Learn 3D modeling techniques using Rhino

PCDD 1402 $720

3D—a powerful, versatile modeling software

PARSONS SCHooL OF DESIGN

fast, intuitive, easy to learn, and compatible with many other software packages. A wide array of plug-ins enables you to perform an impressive and ever-evolving range of functions with Rhino. Projects help you learn the fundamentals of digital design along with skills such as turning digital models into physical objects using laser cutting, 3D printing, and CNC milling. You develop a sense of freedom and independence using Rhino 3D that provides a foundation for further mastery of this important industry software. Basic familiarity with a PC operating system is helpful but not required. 2 CREDITS PCDD 1507 $720

AUTOCAD I Greg Smith A | 10 sessions | beg. Sept. 17 | Sat 10 am–12:50 pm For architects and interior and product designers. Learn the basics, including drawing, editing, dimensioning, output, and presentation.

Gain a practical understanding of AutoCAD’s project from sketch development and produce professional drawings. Prerequisites: basic drafting skills and familiarity with Windows, or equivalent. 2 CREDITS PCDD 1501 $720

X1 | 9 weeks | Aug. 29–Oct. 28

Mark Kaplan

B | 10 sessions | beg. Sept. 16 | F 7–9:50 pm

furniture, product, and jewelry design. Rhino is

relevance to professional practice. Take a

Anne Finkelstein

DIGITAL IMAGING WITH PHOTOSHOP I

including architecture, sculpture, and interior,

clean, scalable graphics or artwork for both print

photography, interior design, architecture studies, and decorative arts.

program applicable to design disciplines

Fashion CAD I J. Michelle Hill X1 | 9 weeks | Oct. 10–Dec. 16 Learn CAD for fashion, using Adobe Illustrator and Photoshop CC 2014. Become familiar with the tools, techniques, and file management most commonly employed in the fashion and textile design industries. Create flat sketches, colorways, repeats, and rendered graphics using Illustrator. Photoshop basics include techniques for scanning, repeats, color reduction, cleaning, and the use of colorways. All coursework is integrated into a final portfolio presentation.

Use of Parsons library resources for fashion and related articles is permitted. Prerequisites: Mac Basics, Illustrator, and Photoshop Basics or equivalent. Class taught in Adobe CC 2014, CS6 minimum software level. 2 CREDITS PCDD 1700 $720

Digital DESIGN

Graphic Design Today’s graphic designers must stay attuned to the rapidly changing image market. The following courses enable students to gain the tools and skills they need to be great designers. Learn how to execute design skills digitally through our courses on digital design, starting on page 8.

Find courses on Advertising and Marketing on page 97.

raphic and Digital G Design Certificate Can be completed online, on campus, or through a combination of online and on-campus study MAJOR CODE: GRDS

Carmile Zaino A | 12 sessions | beg. Sept. 15 | Th 7–9:30 pm

Instructor to be announced B | 12 sessions | beg. Sept. 17 | Sat 1–3:30 pm X1 | 9 weeks | Aug. 29–Oct. 28

Alisa Evdokimov X2 | 9 weeks | Oct. 10-Dec. 16

• Color Theory, Graphic Design I, and

Learn design fundamentals and concept

Digital Graphics w/Illustrator I

development as they relate to typography,

OR Graphic/Digital Basic Core

composition, and color. Discover what makes

plus

the difference between ordinary images and

• Digital Imaging w/Photoshop I

powerful, effective graphics. Strengthen your

• Graphic Design History

design communication skills and develop your

• Typography I, Digital Layout with InDesign, and one (1) digital or graphic design elective course OR three (3) digital and/or graphic design elective courses Learn more and get started at newschool.edu/parsons-certificates.

style and vision as you transform your concepts into finished designs. Online sections require access to a scanner. 2 CREDITS PCGA 1005 $720

TYPOGRAPHY I Etta Siegel A | 12 sessions | beg. Sept. 13 | T 7–9:30 pm

GRAPHIC/DIGITAL DESIGN BASIC CORE

Instructor to be announced

Glenn Baken

Pierre Janssen

A | 12 sessions | beg. Sept. 14 | W 7–9:30 pm

A | 6 sessions | beg. Oct. 31 | M 7–9:30 pm

Whether you are designing a hang tag for fashion,

Through lectures, demonstrations, and studio

a billboard for advertising, or a lookbook, knowing

work, you learn to build an original, effective

where print production fits in the digital landscape

graphic design portfolio to present to potential

is essential for all graphic designers working

employers and undergraduate and graduate

today. This course is a comprehensive introduc-

admission counselors. You refine existing projects

tion to and exploration of the core principles of

and are guided in undertaking new projects to

print production and scale. Classes cover the

fill gaps in your portfolio. You research, develop,

various uses of printed materials, including

and refine your presentation skills using both

merchandising, promotion, marketing, and special

digital and traditional paper portfolio formats.

events. Field trips to New York City–based print

This class is also ideal for professionals seeking

production shops round out the course. 2 CREDITS

to reawaken their creativity through personal

PCGA 1020 $720

projects and new processes that result in a fresh

Steven Kennedy X1 | 9 weeks | Aug. 29–Oct. 28

A | 24 sessions | beg. Sept. 14 | W, F 7–9:50 pm

Alexa Nosal

Ira Robbins, Ivan Rivera

X2 | 9 weeks | Oct. 10–Dec. 16

B | 12 sessions | beg. Sept. 17 | Sat 10 am–3:50 pm

An in-depth understanding of typographic

In this introduction to visual communication

concepts and methods is essential for effective

concepts and tools, you learn the fundamentals

visual communication. Students examine the

of typography, graphic design, and layout as

evolution of the alphabet and the history and

well as digital skills. Taught by two instructors,

basics of typographic style (with an emphasis

the class includes basic design and type

on 20th-century type design and application).

exercises using Photoshop and Illustrator.

Projects help students understand the difference

Develop the essential design skills you need to

between legibility and readability and develop a

produce graphics for print, advertising, corporate

discerning eye and the ability to create effective

identity, and other media.

and expressive type designs. The impact of

PCGA 1000 $1,860

technology on type design and the work of typographic innovators are discussed. Online sections require access to a scanner. 2 CREDITS PCGA 1001 $720

portfolio with a creative edge. Recommended for students in the final semester of certificate

COMMUNICATION AND PROMOTIONAL DESIGN Steven Kennedy A | 12 sessions | beg. Sept. 12 | M 7–9:30 pm

requirements or equivalent experience. Bring your current portfolio (original, digital, or Web based) to the first class. 1 CREDIT PCGA 2006 $360

Some of the most challenging and innovative designs fall into the category of promotional

posters, announcements, brochures, stationery,

BUSINESS BASICS: INTELLECTUAL PROPERTY AND LICENSING

and packaging. Use of original graphics, folds,

Linda Saint Marc

design. Assignments include self-promotion and client promotional pieces, including flip books,

structures, and die-cuts is encouraged. Whether

X1 | 5 weeks | Oct. 10–Nov. 11

the design is rubber-stamped on newspaper or

Protect your ideas, designs, and creative work.

lavishly produced, the concept is always stressed

Gain an understanding of intellectual property

and the sky’s the limit. Flex your creative

law and learn to identify and protect copyright,

muscles and make something exceptional for

trademark, patent, and domain rights. Learn how

yourself and others. Prerequisite: Graphic Design

to use licensing to turn intellectual property into

I or equivalent experience. 2 CREDITS

money. Explore key topics using a variety of

PCGA 1215 $720

realistic case studies and your own concepts.

Examine the roles of creator, licensor, agent,

B | 12 sessions | beg. Sept. 17 | Sat. 10 am–12:30 pm

Sally Herships, Etta Siegel

PARSONS SCHooL OF DESIGN

GRAPHIC DESIGN POrtfolio

Lucie Eder

Required Courses:

plus

12

GRAPHIC DESIGN I

PRINT PRODUCTION IN A DIGITAL WORLD

and licensee. Develop your own multicategory

GRAPHIC DESIGN HISTORY Susan Mayer A | 12 sessions | beg. Sept. 15 | Th 7-9:30 pm

Anna Daley X1 | 9 weeks | | Aug. 29-Oct. 28 |

James Reeves

licensing program. Sessions focus on licensing agreements, partner selection, deal negotiations, brand licensing sales tools, and royalty revenue calculations. No business experience is required.

1 CREDIT

PCGA 2020 $360

X2 | 9 weeks | Oct. 10-Dec. 16 | This course covers the history of graphic design from the mid-19th century through the digital

“ Art is not for the few, for the talented,

revolution. Influential movements are examined,

for the genius, for the rich, nor the church.

including arts and crafts, art nouveau, Dada,

Industry is the nation’s life, art is the

Bauhaus, Neue Grafik, and DIY punk. Students

quality of beauty in expression, and

explore the evolution of the discipline from

industrial art is the cornerstone of our

typesetting to lithography to digital design and

national art.”

investigate the relationship of the discipline to propaganda, advertising, corporate branding, and social networking. 2 CREDITS

Frank Alvah Parsons, 1866–1930

PCGA 1900 $720

Graphic Design

13

Fashion Design and Fashion Business Fashion design merges sketching and general visual skills with the power of the imagination. Courses range from the general, like design sketching, to the specialized, like costume design. Fashion business courses, which teach basic business practices in the context of fashion and design, prepare students to work in a variety of fields in the fashion industry, including marketing, retailing, and merchandising. Find more courses on Marketing and Advertising on page 97 and courses on Management, Leadership, and Entrepreneurship on page 96.

Fashion Design Certificate MAJOR CODE: FASH

Fashion Business Certificate

Construction Techniques I, OR Fashion Design Basic Core plus • Construction Techniques II • Fashion Flats • Fashion History elective plus • Two (2) elective courses 14

FASHION FLATS

Lynne Levin

Anna Philip

A | 12 sessions | beg. Sept. 14 | W 7–9:30 pm

A | 12 sessions | beg. Sept. 16 | F 7–9:30 pm

B | 12 sessions | beg. Sept. 17 | Sat 10 am–12:30 pm

Michele Wesen Bryant

In the fashion world, new clothing designs are

B | 12 sessions | beg. Sept. 17 | Sat 10 am–12:30 pm

presented in the form of hand-drawn sketches

John Jay Cabuay

before being chosen to go into production.

X1 | 9 weeks | Oct. 10–Dec. 16

Designers start with a croquis, a quick sketch of

Flat sketching is an essential part of garment

the traditional fashion figure that serves as the

production. It communicates details in the

base for the design of clothing and accessories,

design and construction of a garment, from

then add color and details to the garments. This

concept to marketing. This course introduces the

is a basic course in making a designer’s sketch,

professional techniques used to create fashion

working from live models to learn drawing skills,

flats, ranging from traditional hand sketching to

fundamental anatomy, and the dynamics of

the use of Adobe Illustrator to produce sketches

movement in preparation for producing fashion

digitally in a vector format. Prerequisite: Mac

illustrations. Attention is given to both the fashion

Basics or equivalent; experience with Adobe

figure and human proportions. 2 CREDITS

Illustrator or Photoshop is a plus. 2 CREDITS

PCFD 1001 $720

PCFD 2903 $720

DESIGN SKETCHING II

CONSTRUCTION TECHNIQUES I

Can be completed online or through a combination of online and on-campus study

Required Courses: • Color Theory, Design Sketching I,

DESIGN SKETCHING I

MAJOR CODE: FSHB

Julie Muszynski

Required Courses:

A | 12 sessions | beg. Sept. 15 | Th 7–9:30 pm

• Consumer Behavior, Fashion

This course covers advanced figure sketching,

Merchandising, The Medium of Fashion:

the influence of fabric textures on the design of a

Textiles, Worth to Westwood: Fashion

garment, and the choice of art medium to best

from the 19th-21st Centuries, Retail

illustrate different types of garments and fabrics.

Buying, and Fashion Marketing in a

Advanced techniques for rendering embroidery,

Global Environment

knitwear, furs, and transparent fabrics are

plus

covered. Students work on design projects with

Learn more and get started at

• Two (2) elective courses

an emphasis on rendering and illustration.

newschool.edu/parsons-certificates.

Learn more and get started at

Development of a coherent collection around

newschool.edu/parsons-certificates.

fashion concepts is stressed throughout.

Prerequisite: Design Sketching I or equivalent.

Evelyn Nelson A | 12 sessions | beg. Sept. 17 | Sat 1–3:30 pm

Barbara Barone B | 12 sessions | beg. Sept. 18 | Sun 10 am–12:30 pm Learn basic sewing, patternmaking, and draping techniques, along with basic principles of design.

Topics covered include machine and hand sewing; cutting and zipper application; and slopers, skirts, bodices, collars, sleeves, and threedimensional muslin interpretation. 2 CREDITS PCFD 1310 $740

2 CREDITS

PCFD 2001 $720

FASHION DESIGN BASIC CORE

selection and textiles; pattern drafting and

Instructors to be announced

of the design sketch; and fashion history and

A | 24 sessions | beg. Sept. 14 | W, F 7–9:50 pm

draping; drawing from the model and the purpose

CONSTRUCTION TECHNIQUES II Katherine Wuersch-Flener A | 12 sessions | beg. Sept. 16 | F 7–9:30 pm

contemporary fashion. Students are expected to complete regular weekly assignments and keep

Instructor to be announced

B | 12 sessions | beg. Sept. 16 | F 3:50– 9:50 pm

a standard fashion source book throughout the

B | 12 sessions | beg. Sept. 17 | Sat 10 am–12:30 pm

Patricia Henry-Turner, Katherine Wuersch-Flener

course. Note: Certificate students must use the

Building on the basic draping and patternmak-

FASH major code and follow all guidelines for

Evelyn Nelson, Anna Philip

C | 12 sessions | beg. Sept. 17 | Sat 10 am– 3:50 pm This intensive course is aimed at those who wish to engage in all aspects of the design

certificate registration. See registration details for this certificate above at left.

PCFD 1000 $1,610

ing skills learned in Construction Techniques I,

online learning Each semester, The New School brings you

process. It provides students with a foundation

classes that fit your life as well as they fit

in the construction and graphic skills necessary

your screen—be it mobile, desktop, tablet,

for a career in fashion design and related

or watch. Look for the computer icon to find

industries. The course is taught in two sections,

all of our online classes.

one in fashion design sketching and the other in

basic skills and professional practices. Topics covered include form, color, and pattern; fabric

PARSONS SCHooL OF DESIGN

more tailored apparel and study advanced patternmaking applications. Make muslin tests of garments and develop patterns for stretch fabrics. Use fabric to create a finished garment.

Prerequisite: Basic Core or Construction Techniques I. 2 CREDITS PCFD 1311 $740

Find out about online learning at

sewing and construction methods. Each section is taught by a separate instructor , who covers

explore intricate draping exercises to design

More questions about a class?

Get in touch! ce@newschool.edu

The New School at newschool.edu/online.

Fashion Design and Fashion Business

15

HAND EMBROIDERY AND APPLIQUÉ BEADING

MEDIUM OF FASHION: TEXTILES

Vashti de Verteuil

Cecilia Metheny

A | 12 sessions | beg. Sept. 13 | T 7–9:30 pm

A | 12 sessions | beg. Sept. 16 | F 7–9:30 pm

The technique of combining embroidery

Bill Brandt

appliqué and beading on fabric allows you to

X1 | 9 weeks | Oct. 10–Dec. 16

develop designs to create garments, scarves,

A practical exploration of the materials,

bags, etc. Seed beads, sequins, bugle beads,

elements, and techniques used in the modern

fabric appliqués, pearls, and faux gems are

apparel and fashion industry. Topics discussed

Join us for the Parsons Continuing Education

applied to a variety of fabrics. No previous

include natural and man-made fibers, yarns,

fall information session, given by our

sewing skills are required. Bring to the first class

textile structures such as knits and woven

program director, Melinda Wax. Faculty

a quarter kilo of seed beads, a spool of 100

fabrics, garment structure, practical and

will be on hand to discuss the latest courses

percent cotton thread, a general-use needle, a

decorative trims, and surface design (printing,

and noncredit certificate options in all

needlepoint hoop (6” to 8”), a yard of solid-color

dyeing, and embellishment). Geared to students

areas of study, including digital design,

100 percent cotton fabric, and manicure

of fashion design and design professionals

fashion business, fashion design, interior

scissors. 2 CREDITS

interested in understanding the “how” as well

and architectural design, and more!

PCFD 1231 $720

as the “why” of textiles, this course covers the

Parsons Continuing Education Fall Info Session Tuesday, August 16, 2016, 6:30–8:00 pm Sheila C. Johnson Design Center, Kellen Auditorium

RSVP at newschool.edu/parsonsinfo.

components involved in the design and manufacture of apparel and accessories.

SEWING I

A | 10 sessions | beg. Sept. 17 | Sat 10 am–12:50 pm

A | 10 sessions | beg. Sept. 17 | Sat 10 am–12:50 pm

In this course, you develop technical skills and

Gregory Angel

are introduced to contemporary jewelry design

Learn to sew simple garments using industrial equipment. Acquire the basic skills of cutting, construction, and finishing using a commercial pattern. Learn about fabric selection and practice hand sewing techniques. You will need a home sewing machine to complete homework assignments. 2 CREDITS PCFD 1201 $740

PATTERNMAKING I Laura Volpintesta

patternmaking using basic body slopers.

Become familiar with all areas of basic styling,

and customization, and identity and the body.

The class discusses the relationship of key designers, events, and movements to these broad themes, covering the work of Worth and Westwood, the department store and dress reform, postmodernism, and anti-fashion.

2 CREDITS

PCFD 1802 $720

faculty profile: Bliss Lau A Parsons graduate turned Parsons Continuing Education faculty member, Bliss Lau is the creator of an eponymous collection that is sold at high-end boutiques around the world.

Her life and work represent the juxtaposition of culture, design, and aesthetics. After receiving her BFA from Parsons School of Design, Lau launched her handbag collection;

while designing and creating jewelry and other small-scale metal objects. You gain proficiency

Bliss Lau, Jasmine Takanikos

including Vogue America, Vogue Italia, WWD,

in the basic technical and conceptual skills

she later delved into the sensuous and exotic world of fine jewelry and body jewelry. Her work has been featured in publications

A | 3 sessions | Oct. 15, 22, 29 | Sat 10 am–5 pm

Dazed & Confused, Rolling Stone, Interview

necessary for working with nonferrous metals

This workshop pairs design and brand strategy.

magazine, New York magazine, Refinery29,

(silver, platinum, gold, copper). You learn to use

It is targeted to students and working profes-

Style.com, and Vogue.com. Lau co-teaches

simple hand tools and a soldering iron and

sionals who intend to launch or already have a

the continuing education class Centering

develop expertise in joining, filing, burnishing,

business or brand in a creative industry.

Your Brand with Jasmine Takanikos, a globally

and polishing metals. You become familiar with

Students who seek to develop their goals, voice,

recognized brand strategist. The class is

the critical language of art and design, analyzing

and expression explore their unique vision

designed for students and working professionals

and discussing your work and that of fellow

through our interactive, hands-on workshop-

who have or are intending to launch a

students. A list of materials and tools will be

style course. Presented in three intensive

business or brand in a creative industry.

sent before the course starts. 2 CREDITS

six-hour sessions over consecutive Saturdays:

PCFD 1920 $720

I: Exploration, Discovery & Vision; II: Strategic Direction & Conceptual Development; and III: Finalizing Process. 1 CREDIT

FABRIC SELECTION AND DESIGN STYLE

including body slopers, skirts, bodices, collars,

Salvatore Cesarani

sleeves, and dresses. Develop paper patterns

A | 6 sessions | beg. Sept. 13 | T 7–9:30 pm

and make a fabric sample that demonstrates

Explore fabric research and color theory before

proper fit. 2 CREDITS

drawing your own design. Develop color swatch

PCFD 1203 $740

PCFD 1270 $720

production and consumption, art, globalization

CENTERING YOUR BRAND: DESIGN AND BRAND STRATEGY

A | 10 sessions | beg. Sept. 17 | Sat 10 am–12:50 pm Learn the fundamentals of design room

2 CREDITS

George Plionis

Svetlana Lukyanovich

B | 10 sessions | beg. Sept. 18 | Sun 10 am–12:50 pm

16

INTRODUCTION TO JEWELRY DESIGN

what it does) and its relationship to modernity,

boards like those used by designers to present their season collections. Discuss inspiration and personal style while selecting fabric swatches.

As a final step, create an original finished design, sure to be a colorful addition to your portfolio.

Three sessions of this course meet during daytime hours at fiber shows and mills; attendance is required. 1 CREDIT PCFD 1261 $360

PCFD 1905 $360

FASHION, POP CULTURE, AND THE 20TH CENTURY Lisa Santandrea

WORTH TO WESTWOOD: FASHION FROM THE 19TH TO THE 21ST CENTURY

A | 6 sessions | beg. Nov. 1 | T 7–9:30 pm

Ann Frank

“gang-related” items of clothing, fashion was a

From Victorian conflicts over the decency of women’s dress at the turn of the century to 1990s school board rulings banning certain

A | 12 sessions | beg. Sept. 12 | M 7–9:30 pm

loaded subject throughout the 20th century.

Instructor to be announced

This class discusses the parallel paths of fashion

X1 | 9 weeks | Aug. 29–Oct. 28

and popular culture as they relate to the politics,

Instructor to be announced

economics, gender issues, health concerns, and

X2 | 9 weeks | Oct. 10–Dec. 16

high art expressions of the past century. It is

Students are introduced to Western fashion

geared to students interested in fashion design,

dating from the middle of the 19th century to

fashion history, and cultural studies. 1 CREDIT

the present day. Broad thematic considerations

PCFD 1804 $360

include the nature of fashion (what it is and

PARSONS SCHooL OF DESIGN

Fashion Design and Fashion Business

17

FASHION INDUSTRY PROFILE: NEW YORK CITY

FASHION MERCHANDISING

FASHION MARKETING IN A GLOBAL ENVIRONMENT

Cecilia Metheny

Mark Osborne

Jeanine Polizzi

A | 10 sessions | beg. Sept. 15 | Th 3:50–6:40 pm

A | 12 sessions | beg. Sept. 14 | W 7–9:30 pm

A | 12 sessions | beg. Sept. 15 | Th 7–9:30 pm

Delve into the business of fashion in New York

Instructor to be announced

X1 | 9 weeks | Oct. 10–Dec. 16

City, one of the world’s most important global

X1 | 9 weeks | Aug. 29–Oct. 28

This course provides a foundation in fashion

fashion capitals. This course presents an

Joan Duncan

marketing strategy within a global context.

X2 | 9 weeks | Oct. 10–Dec. 16

Students learn marketing terminology and

Study the fundamentals of merchandising:

concepts through analysis of target markets, the

ONLINE RETAILING

markets. You explore the interrelationships

market research, planning and control, and

global marketplace, branding communication,

Jeanne McPhillips

between design, production, and marketing as

product development, promotion, and presenta-

and the development of integrated marketing

X1 | 9 weeks | Aug. 29–Oct. 28

they are practiced here. You discuss recent

tion. Analyze case studies outlining strategies

programs within the fashion industry. Students

Joshua Williams

developments in local production, within and

used by manufacturers and retailers. Learn

investigate the theoretical and practical

X2 | 9 weeks | Oct. 10–Dec. 16

outside of the traditional Garment Center, and

about the impact of consumer behavior, its

underpinnings of marketing design and learn to

This course introduces students to the online

the rise of innovative fashion incubators

relationship to forecasting, and the importance

build profitable customer relationships. The

retailing environment and examines a variety of

developed for area fashion designers and

of global merchandising. 2 CREDITS

class examines the process of product planning,

retail models, from the multichannel strategies

PCFD 1860 $720

pricing, promotion, and distribution, with a focus

of large retailers to small niche concepts. Students

on global resources, opportunities, and threats.

learn the retail terminology of the online fashion

communicating your insights. 2 CREDITS

Students explore the role of marketing in a

marketplace and compare Web and traditional

PCFD 1814 $720

global business organization, learn the compo-

brick-and-mortar or catalog retail formats.

nents of a formal marketing plan, and gain a

Special attention is paid to online consumers’

strategic skill set related to marketing manage-

unique shopping habits, preferences, and

ment, financial analysis, developing markets,

responses to incentives. The course also examines

and innovative problem solving. 2 CREDITS

methods of retail promotion in an interactive

PCFD 1880 $720

online environment and the importance of social

overview of New York City’s industry structure across primary, secondary, and auxiliary

craftspeople. You acquire a working vocabulary of industry terminology to employ when

RETAIL BUYING Stephanie Cozzi

COSTUME DESIGN AND HISTORY Mary Maxmen A | 12 sessions | beg. Sept. 15 | Th 7–9:30 pm An introduction to costume design and history for theater and design students, fashionistas, and vintage clothing lovers. Students work on 18

one individual project, designing costumes for

A | 10 sessions | beg. Sept. 17 | Sat 10 am–12:50 pm

Lori Bae X1 | 9 weeks | Aug. 29–Oct. 28

Gretchen Harnick

yourself. This course is essential for managers, retail business owners, and manufacturer’s account representatives. Topics include open to

team. Students learn to create business models and structure legal business organizations, and they explore the details of financing and insurance. 2 CREDITS PCFD 1840 $720

media and user-generated content. Students

X2 | 9 weeks | Oct. 10–Dec. 16 Learn to work with a retail buyer or become one

navigating the complexities of working with a

develop a theoretical and practical understanding

CONSUMER BEHAVIOR Marie Johnson X1 | 9 weeks | Aug. 29–Oct. 28

of online retail store design and ways to build profitable customer relationships. 2 CREDITS PCFD 1875 $720

buys, cumulative markups, shortages, vendor

Instructor to be announced

analysis, and stock sales. Students learn to buy

X2 | 9 weeks | Oct. 10–Dec. 16

or communicate with buyers on their level and

Today’s competitive marketing climate has led

FASHION PORTFOLIO

complete practical and realistic assignments.

many companies to explore theories of consumer

David Leung

Bring a calculator to the first class. 2 CREDITS

behavior. This course focuses on the profile of

A | 6 sessions | beg. Sept. 16 | F 7–9:30 pm

the consumer—psychographics and demograph-

A strong portfolio is essential to success in a

ics—and consumer interests, with an emphasis

competitive industry like fashion. Learn to

mood boards, swatching, finished renderings,

on generational marketing. Segmented and niche

communicate your skills to potential employers,

and presentation boards. The goal is to produce

markets and their development are also discussed.

whether your focus is fashion design, illustra-

2 CREDITS

tion, textile design, merchandising, or buying. In

PCFD 1855 $720

this course, you are guided in editing work you

the main characters in a classic play. Students learn how to design and paint costume design plates and create a design motif for a textile or set furnishing for one of the play’s characters.

Lectures and demonstrations provide instruction in the stages of the design process: concept development, research, character breakdowns,

a portfolio or look book worthy of being shown to a director or producer. Practical topics covered include finding entry-level jobs, building a costume portfolio, designing for film, collaborating with directors and set and lighting designers, contracts, unions, and budgets. The class also takes a field trip to a professional costume shop.

The projects are paper projects; there is no sewing required. Fall semester history lectures cover ancient Egypt to the Baroque (1680); spring history lectures cover 1680 to the 1920s.

2 CREDITS

PCFD 1807 $720

PCFD 1871 $720

FASHION TRENDS Patrick Hughes A | 12 sessions | beg. Sept. 13 | T 7–9:30 pm X1 | 9 weeks | Oct. 10–Dec. 16 What is the fashion news? This course examines significant cultural phenomena that shape new sensibilities in fashion. Historically based

have done for school assignments or as a working professional, to build a portfolio that

FASHION ENTREPRENEURSHIP

slide lectures cover the themes of revolution,

Donna Berger

music, cosmopolitanism, film, the influence of

A | 12 sessions | beg. Sept. 15 | Th 7–9:30 pm

couture, memory, and the acquisition of the

Donna Berger

look. This class incorporates roundtable

X1 | 9 weeks | Aug. 29–Oct. 28

discussions and viewings of current collection

Gretchen Harnick

showings from the world’s fashion capitals.

X2 | 9 weeks | Oct. 10–Dec. 16

2 CREDITS

Students aspiring to become entrepreneurs in

PCFD 1820 $720

the fashion industry examine the skills needed to conceive, finance, open, and operate a successful fashion business. Through collaborative research and hands-on practice, students

accurately tells the story of your talent. You research, edit, and refine your presentation skills in both digital and traditional paper portfolio formats. This class is designed for students preparing a portfolio for college admission or grad school as well as professionals seeking to refresh their portfolios with personal projects using new creative processes. Recommended for students in the final semester of certificate requirements or with equivalent experience.

Bring your current portfolio (originals, digital, or Web based) to the first class. 1 CREDIT PCFD 2005 $360

learn what’s involved in opening a business and

PARSONS SCHooL OF DESIGN

Fashion Design and Fashion Business

19

FINE ARTS, FOUNDATION, AND PHOTOGRAPHY Fine arts and foundation courses provide a basis for all the art and design disciplines. Beginning artists and illustrators are introduced to essential tools and ideas, while those with more experience develop their skills and creativity in more advanced courses. Find courses on Arts and Social Engagement on page 61.

References to art history and contemporary art, one-on-one instruction, and demonstrations aid the learning process. Prerequisite: Drawing I or equivalent experience. 2 CREDITS PCFA 1001 $720

OIL PAINTING BASICS Instructor to be announced A | 6 sessions | beg. Sept. 14 | W 7–9:30 pm Explore color and form by painting from the live model and still life setups. Gain a basic understanding of the use of oil paints, media,

LIFE DRAWING

and brushes while developing painting skills and learning techniques specific to painting

Grace Burney

materials and the surfaces on which they are

A | 12 sessions | beg. Sept. 13 | T 7–9:30 pm

painted. Prerequisite: Drawing I or equivalent.

Discover aspects of drawing by working from

1 CREDIT

the live model. Study master drawings and

PCFA 0702 $360

develop an understanding of structure to

Fine Arts Certificate

DRAWING BASICS Gilda Pervin

cultivate elements of draftsmanship. 2 CREDITS PCFA 1010 $720

Beverly Brodsky

A | 6 sessions | beg. Sept. 16 | F 7–9:30 pm MAJOR CODE: FINE

This course explores both traditional and

Required Courses:

contemporary approaches to drawing with a

• Color Theory, Drawing I, Painting I plus • Life Drawing • Painting II plus • Three (3) elective courses Learn more and get started at

newschool.edu/parsons-certificates.

variety of materials. Through a series of

WATERCOLOR

DRAWING IN NEW YORK CITY

A | 12 sessions | beg. Sept. 16 | F 3:50–6:20 pm Beginning and advanced students explore all facets of watercolor painting and develop their technical ability and creativity. A variety of

assignments with still-life arrangements and

Michelle Greene

live models, students learn about the impor-

A | 12 sessions | beg. Sept. 16 | W 12:10–2:40 pm

tance of seeing form and master the basic

This course gets you out into the city drawing at

principles of drawing. Critiques and discussion

indoor and outdoor locations. You’ll learn how to

help students develop analytic and evaluative

depict a landscape or interior in an expressive

skills. Instruction is one-on-one and is geared to

and cohesive composition that captures value,

the needs of individual students. 1 CREDIT

space, form, and movement. Beginning and

student’s personal vision is encouraged.

advanced students draw using their own

2 CREDITS

approach while remaining aware of the

PCFA 1414 $720

PCFA 0401 $360

styles and approaches are demonstrated, including wet-on-wet, glaze, and washes. The course covers subjects including landscapes, flowers, and buildings, with an emphasis on design and color. The development of each

solutions reached by successful artists through20

COLOR THEORY

DRAWING I

Margaret Krug

Mark Saltz

A | 12 sessions | beg. Sept. 13 | T 7–9:30 pm

A | 12 sessions | beg. Sept. 12 | M 7–9:30 pm

Dik Liu

Gilda Pervin

B | 12 sessions | beg. Sept. 14 | W 7–9:30 pm

B | 12 sessions | beg. Sept. 15 | Th 7–9:30 pm

Richard Beenen

For those who have never picked up a pencil and

C | 12 sessions | beg. Sept. 15 | Th 7–9:30 pm

Nuno Campos X1 | 9 weeks | Aug. 29–Oct. 28

Daniel McDonald X2 | 9 weeks | Oct. 10–Dec. 16 Discover color and its implications for designers and artists. Study ideas of space and the use of

beginners who prefer sticking to the basics. The class discusses form, drawing materials, line, and shading. Students learn about perspective, foreshortening, gesture, drapery, and portraiture.

The class includes some life drawing from the model. 2 CREDITS

color qualities and combinations. Online

DRAWING II

students must have access to a scanner.

Sonya Sklaroff

2 CREDITS

A | 12 sessions | beg. Sept. 14 | W 7–9:30 pm

PCFA 1100 $720

This class is geared to students who wish to build upon basic drawing skills. Selective observation, including working from the figure,

Find all course listings and register at newschool.edu/ce/classes or by calling 212.229.5620.

PARSONS SCHooL OF DESIGN

students develop analytic and evaluative skills.

COLLAGE

Instruction is one-on-one and is geared to the

Mariah Fee

needs of each student. Drawing sites may include the High Line, The Met, the Central Park Zoo, and the Central Park Conservatory Garden.

The first session meets at the southwest corner of Union Square Park, inside the dog run. We will draw the dogs and the Greenmarket. (In case of rain, we will meet at the subway entrance at the southwest corner of the park.) 2 CREDITS PCFA 1436 $720

helps students develop an understanding of structure and form. Students explore composition, line quality, and spatial relationships while developing a personal form of expression.

A | 6 sessions | beg. Sept. 17 | Sat 1–3:30 pm Collage is the integration of painting, handmade surfaces, three-dimensional objects, and photographs to create multiple layers of visual meaning. It offers an ideal medium for personal and autobiographical work, storytelling, and visual narratives. Students develop their design ideas and technical skills by creating color compositions using digital inkjet prints, art papers, fabrics, and photos. Classes include

PCFA 0501 $720

color to solve spatial problems. Look at color harmony and the way colors interact, as well as

out history. Critiques and discussion help

demonstrations of transfers from laser prints

PAINTING I

and newspapers, the use of specialty papers,

Sonya Sklaroff

binding methods, and the history of collage art.

A | 12 sessions | beg. Sept. 13 | T 7–9:30 pm

John Silver B | 12 sessions | beg. Sept. 17 | Sat 1–3:30 pm This basic painting studio begins with an

Students are encouraged to experiment with text using layers of transparencies and textures.

Final projects can be scanned for use in online portfolios, on websites, and in online interactive

examination of the use of color, composition,

digital graphics. 1 CREDIT

spatial structure, and transition. Students work

PCFA 1150 $360

with a variety of observed sources, including the figure model, while receiving guidance on issues they are struggling with. Art history and study of contemporary art are incorporated. 2 CREDITS

More questions about a class?

Get in touch! ce@newschool.edu

PCFA 1401 $720

FINE ARTS, FOUNDATION, AND PHOTOGRAPHY

21

MIXED MEDIA: CONTEMPORARY FUSION

PROJECT STUDIO Peter Garfield

THE PHOTOGRAPHIC PORTRAIT

Mariah Fee

A | 12 sessions | beg. Sept. 14 | W 7–9:30 pm

Brian Lav

A | 6 sessions | beg. Nov. 5 | Sat 1–3:30 pm

In this studio, intermediate- to advanced-level

A | 12 sessions | beg. Sept. 12 | M 7–9:30 pm

Unlock ways of creating unique images and

students complete self-directed projects in

Since Leonardo da Vinci painted Mona Lisa, the

expressing personal vision using mixed media.

media including drawing, painting, sculpture

portrait has been a favorite genre for artists

Create artwork that brings together photo

photo, video, and animation and create

and photographers. Whether you choose to

imagery and the transparent textures of paint.

interdisciplinary work. Students plan, develop,

photograph your family, capture strangers on

Juxtapose found images with art materials to

and produce a project or series of their own

the street, or set up a formal portrait, this course

connect personal content with elements from

design with the technical and critical support of

gives you the technical and conceptual skills you

the environment. The relationship between

the instructor. The emphasis is on articulating a

need to make a successful picture. Camera use,

personal expression and cultural images is

personal approach to the chosen medium. This

lighting, composition, personal vision, and point

explored. A variety of materials and processes

course helps you create a cohesive series of

of view are discussed. You can shoot work in

can be used: water-soluble pencils, acrylic

pieces, build your portfolio for graduate school,

black and white or color, using analog or digital

paints, inks, layering old book pages and found

and advance your professional development.

cameras. A darkroom is not provided, but if you

INTRODUCTION TO PRINTMAKING

text, and photo transfers. A portion of this

Guest artists and critics contribute to the

wish to shoot film, you can have your negatives

dialogue. Bring a sample portfolio of your work

Janice Loeb

course will take place in a digital lab. Final work

scanned for digital workflow at a commercial

(originals, digital, or Web based), if available, to

A | 12 sessions | beg. Sept. 12 | M 7–9:30 pm

can be scanned and incorporated into digital

printer. Cameras must have manual focus and

the first session. 2 CREDITS

Beginning students explore printmaking media

formats. A selection of mixed media practi-

exposure controls. 2 CREDITS

including etching, monotypes, and collagraphy.

tioners will be studied and discussed, including

PCFA 1910 $720

PCFA 1211 $720

This workshop enables students to develop their

Picasso, Rauschenberg, Hannah Hoch, the

PCFA 1440 $360

Exhibitions at the Sheila C. Johnson Design Center 22 Exhibitions at the Sheila C. Johnson Design Center galleries are at the forefront of political and social engagement through art and design. This past fall and spring, our galleries featured a number of innovative and thoughtful exhibitions, such as Mass Observation 2.0, which was part exhibition, part archive, and part platform for workshops, events, and talks, aimed at creating a participatory space for research and exchange investigating forms of communication and relatedness under the influence of new technologies; a showcase of the diverse work of Parsons alumni; an exhibition by the anonymous Syrian collective Abounaddara, winner of the Vera List Center Prize for Art and Politics, proposing the right to the image; and an experimental traveling exhibition focused on the complex historical relationships of Cambodia, the United States, and France in which student curators explored

Students learn how to prepare images for a book produced from online sources. You must have an adjustable digital camera (not a basic point-andshoot), and Lightroom or any version of Photoshop on your laptop or home computer for the course.

Assignments must be brought to class on a USB drive. Students should bring samples of their work to the first class. Prerequisite: Introduction to Digital Photography or equivalent. 1 CREDIT PCFA 1213 $360

own personal vision. It covers conventional

Dadaists and Surrealists, and Native American, folk, and contemporary artists. 1 CREDIT

critiques are an important part of the course.

techniques and introduces students to experi-

INTRODUCTION TO DIGITAL PHOTOGRAPHY

NEW YORK CITY STREET PHOTOGRAPHY

mental methods. 2 CREDITS

Michael Grimaldi

Arlene Collins

Faculty will have information on fee payment

A | 12 sessions | beg. Sept. 14 | W 7–9:30 pm

A | 6 sessions | beg. Sept. 17 | Sat 10 am–12:30 pm

David Heinlein

Photograph New York City using only technique

B | 12 sessions | beg. Sept. 17 | Sat 1–3:30 pm

and the simplest of equipment. Learn how to

This lecture/demonstration course introduces

use landscape, form, and existing light to master

you to the fundamentals of digital photography.

the photographic resources on hand. Each week,

You emerge from the class with a new sense of

you explore various New York neighborhoods

the power of photography and confidence in

with the class and capture your own striking

Tuesday, August 2, 2016, 6:30–8:30 pm

using a camera without focusing excessively on

low-budget images. The use of point-and-shoot

University Center, 63 Fifth Avenue, NYC

the technical details of the medium. Topics

digital cameras, simple 35mm film cameras,

covered include different types of cameras, how

and even disposable cameras is encouraged to

to choose a camera, and how to hold the

help you develop a unique photographic vision.

camera to ensure sharp photographs. You also

Beginners are welcome. Bring your camera to

learn about aperture opening (f-stop) and

the first session. 1 CREDIT

shutter speed in detail so that you can control

PCFA 1212 $360

the way the two elements work together to

size and perspective as related to lens and focal length choice, depth of field and its creative potential, automatic features of electronic cameras, digital darkroom techniques, and accessories including tripods, flashes, and filters.

Your individual creativity is stressed and your work is viewed and discussed in class. If you own a camera, bring it to the first class session.

2 CREDITS

PCFA 1200 $720

on the first day of class.

#LearnGrowRepeat Continuing Education Expo & Open House

Ready to go back to school on your own terms? Fill in the blanks to your next learning journey and #LearnGrowRepeat this fall with continuing education courses and certificates at The New School. Start by joining us for free pop-up classes in writing,

determine exposure, sharpness, and depth of field. You also explore lighting techniques, image

PCFA 1800 $740 plus a $100 materials fee.

AVAILABLE LIGHT PHOTOGRAPHY Daniel Featherstone

media, and art; live music performances; one-on-one advising; and more!

Looking for more goodies? You’ll have a chance to win prizes with raffles and

A | 6 sessions | beg. Sept. 15 | Th 7–9:30 pm

giveaways and meet with continuing

Getting great shots in extreme conditions like

education program directors and faculty.

harsh sunlight or the street at night is a challenge. This course shows you how to work with any kind of light at any time, including dim lighting and night, natural, and ambient light.

Students develop their vision and technical ability as they translate light, color, and ideas

“futurographies”—propositions that were,

into powerful images. Special software, processes,

that never were, will never be, or could be.

equipment, and camera techniques and their

For more details, visit newschool.edu/sjdc.

use in creating evocative images are demon-

• Get one-on-one advising and sign up for courses on-site. Sample CE courses through pop-up classes.

• Enjoy being serenaded by New School musicians.

• Create, innovate, and become inspired by fun interactive activities.

RSVP at newschool.edu/TheNewCEExpo.

strated and discussed. Regular assignments and

PARSONS SCHooL OF DESIGN

FINE ARTS, FOUNDATION, AND PHOTOGRAPHY

23

ETCHING AND ENGRAVING SILKSCREEN PRINTING

Fall for a New Way of Thinking

Mohammad Khalil

Alison Sahmel

A | 12 sessions | beg. Sept. 14 | W 7–9:30 pm

A | 12 sessions | beg. Sept. 16 | F 7–9:30 pm

This course introduces all forms of intaglio

Screenprinting is one of the simplest and most

printing, including drypoint, engraving, aquatint,

direct ways to create multiple-color images.

soft ground, and mezzotint. Color printing

Using hand-drawn, digital, and photographic

includes demonstrations in multicolor plates,

sources, students learn to construct images on

stencil, and viscosity. Students work with

almost any flat surface. All printing is water-

halftone film and line drawings, translating

based. This class develops skills that can

them into photo-etchings, and explore printing

support other artistic techniques. 2 CREDITS

with copper and zinc metal plates. 2 CREDITS

PCFA 1802 $740 plus a $100 materials fee.

PCFA 1801 $740 plus a $100 materials fee.

Faculty will have information on fee payment

Faculty will have information on fee payment

on the first day of class.

on the first day of class.

WOODCUT, ETCHING, AND COLLAGRAPH Mohammad Khalil A | 12 sessions | beg. Sept. 17 | Sat 10 am–12:30 pm Study basic intaglio methods (etching, aquatint, and soft ground), relief printing (B&W and color woodcut), and experimental work with the collagraph, building a surface for printing with cardboard and other textural two-dimensional objects. Freedom and flexibility are emphasized as students learn to use drawing and cutting tools while mastering printing and registration techniques. Design, drawing, and color are stressed, and attention is given to developing

Committed to amplifying diverse and dissenting voices for

modern applications of these media are related

more than a century, The New School offers over a

to classwork through examples of professional

thousand public programs each year—most presented

prints. 2 CREDITS

free—bringing fresh perspectives and learning opportunities to campus daily. These readings, presentations, debates,

25

each student’s personal aesthetic. Historical and

PCFA 1806 $740 plus a $100 materials fee.

Faculty will have information on fee payment on the first day of class.

concerts, lectures, and performances represent a cornerstone of student and university life and New York City’s intellectual culture.

Join us in person or watch online via our Livestream. View past events on our YouTube channel, or for a list of all public programs, please visit newschool.edu/events.

Questions? Contact universitypublicprograms@newschool.edu.

Fine arts, foundation , and photography

INTERIOR DESIGN, DECORATIVE ARTS, AND ARCHITECTURE STUDIES Interior design and architecture studies courses give students an awareness of spatial organization. Decorative arts courses introduce students to antiques and furnishings and the history of interiors.

I nterior Design Certificate

• Color Theory, Basic Drafting, and Basic Interior Space Planning OR Interior Design Basic Core plus • Interior Rendering, Perspective

26

A | 12 sessions | beg. Sept. 15 | Th 7–9:30 pm

INTERIOR RENDERING

of interior space for the private home and

problems such as window, ceiling, doorway, floor, and wall treatments. Review drafting

Learn about rendering materials, methods, and

techniques that allow you to present projects in

techniques. Use watercolor, marker, pencil, ink,

a professional manner. Concentrate on space

and mixed media to learn color mixing and color

planning, furniture, color, and lighting. Explore

theory and explore shade and shadow. Apply

materials, methods, and professional practices.

rendering techniques to room drawings, plans,

Prerequisite: Basic Drafting, Basic Interior Space

and elevations. Make media comparisons to

Planning, Perspective Drawing for Interiors, or

determine the best use for each finish on the

the equivalent. 2 CREDITS

basis of your abilities. Use what you’ve learned

PCID 1205 $720

BASIC INTERIOR SPACE PLANNING Pamela Hersch A | 12 sessions | beg. Sept. 12 | M 7–9:30 pm

Instructor to be announced

1800 to 2000, and

X1 | 9 weeks | Oct. 10–Dec. 16

Antiques Connoisseurship

This is an introduction to planning interior

plus

spaces for students without drafting skills. Learn

to create presentations using color and materials boards. 2 CREDITS

INTERIOR LIGHTING

PCID 1003 $720

Jason Livingston A | 12 sessions | beg. Sept. 15 | Th 7–9:30 pm

what it means to be an interior designer and

PERSPECTIVE DRAWING FOR INTERIORS

apply conceptual approaches to interior design

Pedro Cuni

Study materials, color, luminaires and luminaire

problems. Through sessions on color, scale and

A | 12 sessions | beg. Sept. 12 | M 7–9:30 pm

selection, layout, and approaches to various

proportion, lighting, furniture arrangement, floor

Constance Johannsen

building types. Prerequisite: Basic Drafting or

and wall treatments, and client psychology,

B | 12 sessions | beg. Sept. 16 | F 3:50–6:20 pm

the equivalent. 2 CREDITS

learn to conceptualize and plan creative

Learn the mechanical skills needed to visually

PCID 1140 $720

solutions for interior spaces. Master freehand

communicate spatial concepts. Develop

drawing of floor plans. Complete one interior

the ability to translate floor plans into three-

design project, from beginning concept through

dimensional interiors by exploring the principles

finished visual and verbal presentation. Learn

of one- and two-point perspective drawing.

about the use of equipment, tools, and scale

Learn about isometric views, plan and section

drawings. No previous experience in interior

perspective, introductory pencil rendering, and

design is necessary. 2 CREDITS

concepts of light and shadow. 2 CREDITS

PCID 1001 $720

PCID 1005 $720

An introduction to theory, technique, and creative lighting concepts basic to all interiors.

KITCHEN AND BATH Conrad Pisarski A | 12 sessions | beg. Sept. 17 | Sat 10 am–12:30 pm Visualize your dream kitchen and bathroom, then piece it together without bumping your head on the range hood. This class explores basic planning and layout; selection of materi-

Learn basic drafting, rendering, and space layout while studying interior materials and profes-

Explore the possibilities of architectural design

B | 12 sessions | beg. Sept. 17 | Sat 1–3:30 pm

Anshu Bangia

B | 12 sessions | beg. Sept. 17 | Sat 10 am–12:50 pm

Roger Urmson

PCID 1000 $1,610

1400 to 1800, History of Interiors,

Benedict Clouette, instructor to be announced

PCID 1002 $720

RESIDENTIAL INTERIOR DESIGN

finding viable and interesting solutions to design

C | 12 sessions | beg. Sept. 17 | Sat 10 am–12:30 pm

A | 24 sessions | beg. Sept. 12 | M, W 7–9:50 pm

Materials cost approximately $100. 2 CREDITS

Constance Johannsen

Design) OR History of Interiors,

Brenda Galvez-Moretti, instructor to be announced

concept graphically. Drafting tools are required.

See registration details for this certificate at left.

Catherine Pyenson

INTERIOR DESIGN BASIC CORE

techniques necessary to express any design

apartment. Participate in exercises geared to

Design (or Residential Interior

newschool.edu/parsons-certificates.

PCID 1200 $720

throughout the curriculum. Learn the skills and

A | 12 sessions | beg. Sept. 15 | Th 7–9:30 pm

Drawing for Interiors, and Interior

Learn more and get started at

Planning, or equivalent experience. 2 CREDITS

of architectural and interior design is integrated

follow all guidelines for certificate registration.

B | 12 sessions | beg. Sept. 14 | W 7–9:30 pm

• Two (2) elective courses

Prerequisite: Basic Drafting, Basic Interior Space

plans. Trade information related to the practice

Keith Geldof

MAJOR CODE: INTD

Required Courses:

related to floor plans, elevations, and ceiling

als, cabinets, and appliances; essential services;

sional practices and methods. Explore the

BASIC DRAFTING

INTERIOR DESIGN

philosophy, art, and science of constructing

Sedge Hahm

Ferruccio Babarcich

interior spaces. Taught in separate studio

A | 12 sessions | beg. Sept. 12 | M 7–9:30 pm

A | 12 sessions | beg. Sept. 13 | T 7-9:30 pm

ing. Short assignments and final projects help

sections by two instructors, the course begins

ventilation; lighting; conveying a design idea; and evaluating the existing setup for remodel-

Conrad Pisarski

Explore the design process by developing a

you tackle practical realities. Prerequisite: Basic

with basic drafting and rendering exercises and

B | 12 sessions | beg. Sept. 13 | T 7–9:30 pm

commercial or residential project in a studio

Drafting or equivalent experience. 2 CREDITS

the fundamentals of interior construction.

An introduction to the preparation of drawings

environment. Begin from a concept and develop

PCID 1212 $720

Through coursework and pinups, students

for architectural purposes. Topics covered

your idea into a coherent interior space,

engage in critique and critical analysis. Students

include identification and use of drafting

exploring issues of spatial layout and signifi-

acquire a basic skill set with which to address

equipment, drafting in scale, basic lettering, line

cance, materials and finishes, lighting, and

more complex problems. Note: Certificate

weights, and standard notation conventions.

furniture. Present your final project, complete

students must use the INTD major code and

The emphasis is on orthographic projections

with rendered drawings and a materials board.

PARSONS SCHooL OF DESIGN

Find all course listings and register at newschool.edu/ce/classes or by calling 212.229.5620.

INTERIOR DESIGN, DECORATIVE ARTS, AND ARCHITECTURE STUDIES

27

28

SHOWROOMS: A DESIGN RESOURCE

FURNITURE DESIGN

ARCHITECTURE OF NEW YORK CITY

A | 12 sessions | beg. Sept. 13 | T 7–9:30 pm

HISTORY OF INTERIORS, 1400 TO 1800: FROM THE MEDICIS TO LOUIS XVI

Charles Pavarini A | 10 sessions | beg. Sept. 13 | T 3–5:30 pm

Students investigate all aspects of furniture

Rebekah Pollock

Explore some of the industry’s finest show-

design, including materials, fabrication

A | 12 sessions | beg. Sept. 14 | W 9:15–11:45 am

A | 12 sessions | beg. Sept. 14 | W 7–9:30 pm

rooms through instructor-guided tours and

techniques, form, style, drawing, and production.

New York has a compelling architectural

lectures. Bring your design and resource

Emphasis is placed on scale, human factors,

Instructor to be announced

heritage, from the Federal-style rowhouse to the

knowledge up-to-date. View fabrics, lighting,

and industrial application. This course also

and furniture, as well as window, wall, and floor

covers the relationship of interior space,

coverings. The first class meets at the Village

structure, and product purpose to object design.

campus; subsequent classes meet off campus

This is not a studio fabrication course, although

at a variety of Manhattan locations. 2 CREDITS

scaled prototypes may be produced. 2 CREDITS

PCID 1730 $600

PCID 1010 $720

Matthew Hoey

X1 | 9 weeks | Oct. 10–Dec. 16

modern skyscraper. Acquaint yourself with the

In this course, you acquire a basic understand-

philosophy and forces that have shaped our city.

ing of the development of decorative arts in

Using the city as a classroom, physically

Europe from the 15th to the 18th century.

experience New York City architecture and its

Focusing on the cultures of Italy, France, and

urban environments. Learn to identify architec-

England, you explore objects and environments

tural styles and understand them in the context

drawn from public and private life. Furniture,

of social, economic, and technological currents.

textiles, metalwork, glass, ceramics, interiors,

The first class meets at Parsons’ Greenwich

and architecture are examined in relation to

Village campus; subsequent classes meet off

style and meaning, with special consideration

campus at various Manhattan locations.

given to the cultural, social, and political

2 CREDITS

contexts in which they were designed and used.

PCID 1700 $720

PRODUCT DESIGN FOR THE HOME

CONSTRUCTION DOCUMENTATION

Yvette Chaparro

Marlisa Wise

A | 12 sessions | beg. Sept. 15 | Th 7–9:30 pm

A | 6 sessions | beg. Oct. 31 | M 7–9:30 pm

2 CREDITS

This course is a conceptual exploration of home

This course provides an overview of construc-

PCID 1800 $720

products, from initial idea to final drawings,

tion process and related project documents.

models, and presentation, with an emphasis on

Emphasis is placed on both the legal aspect of

establishing a rigorous and individual design

construction-related documents and the roles

process. Students design a product for living

played by design professionals, contractors,

(furniture, lighting) or dining (tabletop). This

owners, and others involved in the industry.

semester-long project involves problem solving,

You learn about construction documents,

market research, and historical study, as well as

project manuals, bid proposals, specifications,

materials and manufacturing research. Field

contracts, submittals, and project closeout.

trips and guest lectures by design professionals

You also examine standard forms and ethics.

reveal the realities of a career in product design.

1 CREDIT

2 CREDITS

PCID 2002 $360

PCID 1255 $720

“ A building does not have to be an

HISTORY OF INTERIORS, 1800 TO 2000: FROM NAPOLEON TO MICHAEL GRAVES Erica Forester A | 12 sessions | beg. Sept. 12 | M 12:10–2:40 pm

Dora Vanette X1 | 9 weeks | Oct. 10–Dec. 16 The decorative arts produced after World War II reflect the impact of the Industrial Revolution

PROFESSIONAL PRACTICES: INTERIOR DESIGN

John Kriskiewicz

and the social and economic changes it gave rise to. In this course, you investigate furniture, ceramics, metalwork, and textiles of the modern era. Subjects covered include the arts and crafts

#LearnGrowRepeat Continuing Education Expo & Open House Tuesday, August 2, 2016, 6:30–8:30 pm University Center, 63 Fifth Avenue, NYC Ready to go back to school on your own terms? Fill in the blanks to your next learning journey and #LearnGrowRepeat

important work of architecture to become

Instructor to be announced

movement, art nouveau, art deco, the Bauhaus,

a first-rate landmark. Landmarks are not

A | 6 sessions | beg. Sept. 12 | M 7–9:30 pm

the Victorian era in the United States and

created by architects. They are fashioned

This course offers you an overview of the legal,

England, 19th-century revival styles in architec-

by those who encounter them after they

ethical, and financial aspects of the interior

ture and the decorative arts, functionalism, and

are built. The essential feature of a landmark

design field. You are introduced to current

the relationship between design and technology.

models of practice and study the role of

2 CREDITS

one-on-one advising; and more!

economics, contracts, liability, licensure, and

PCID 1801 $720

Looking for more goodies? You’ll have a

is not its design, but the place it holds in a city’s memory. Compared to the place it occupies in social history, a landmark’s artistic qualities are incidental.”

Design Alumnus

and certificates at The New School. Start by joining us for free pop-up classes in writing, media, and art; live music performances;

standards of practice in shaping contemporary

chance to win prizes with raffles and

interior design practice. What kind of marketing

giveaways and meet with continuing

and promotion is effective for your particular

education program directors and faculty.

work? Whether you intend to freelance, create Herbert Muschamp, Parsons School of

this fall with continuing education courses

a small partnership, or work in-house at a boutique office or large company, this course helps you understand what to expect. You review common business practices, including business proposals, pricing, estimates, invoices, client relations, interviewing techniques, professional conduct, and writing CVs and résumés. 1 CREDIT

• Get one-on-one advising and sign up for courses on-site. Sample CE courses through pop-up classes.

• Enjoy being serenaded by New School musicians.

• Create, innovate, and become inspired by fun interactive activities.

RSVP at newschool.edu/TheNewCEExpo.

PCID 2001 $360

PARSONS SCHooL OF DESIGN

INTERIOR DESIGN, DECORATIVE ARTS, AND ARCHITECTURE STUDIES

29

HISTORY OF ANTIQUE FURNITURE

DECORATIVE ARTS: NEW YORK EXHIBITIONS

Erica Forester

Louise Devenish

general information

X1 | 9 weeks | Oct. 10–Dec. 16

A | 6 sessions | beg. Nov. 3 | Th 3–5:30 pm

SOFTWARE BASICS

SPACE

This course is a survey of antique furniture

Take advantage of the valuable resources and

styles and antique objects dating from 1400

current happenings in the New York City art

Software Basics classes such as Photoshop

(Summer, Pre-College Academy,

to 1800, including the Renaissance, baroque,

world. Tour a range of collections, special

Basics and Illustrator Basics are recommended

and Continuing Education)

rococo, and early neoclassical periods in

exhibits, and historical homes. Glimpse the

for beginners. These classes focus on the

Parsons offers open-enrollment programs with

western Europe and the United States. You learn

current art market through group visits to major

how to identify antique furniture by stylistic

museums and private collections in and around

genre and historical style while developing a

the city. Participate in discussions of the

keen eye for the way past styles are reflected in

scholarly impact of small and private collections

modern furniture. This course is ideal for interior

and of current blockbuster decorative arts

CLASS SKILL LEVELS

launch or advance careers in art and design.

designers, stylists, production designers, antique

exhibitions inspired by major historical events,

collectors and sellers, product designers, and

such as Henry Hudson’s 400th anniversary.

Our standard-level classes go beyond the

disciplines for students seeking a structured

individuals interested in the decorative arts.

There are entrance fees for exhibitions and

2 CREDITS

museums, and class meetings may run over.

PCID 1915 $720

1 CREDIT

users who are familiar with computers and want

PREVIOUS EXPERIENCE

PCID 1906 $360

to tackle design issues. Macintosh Basics (or

Many classes are open to beginners. For

fundamentals of program operation.

Prerequisite: Macintosh Basics (or equivalent experience).

basics of program operation; it is assumed that students are comfortable with the computer and software. The courses are recommended for

ANTIQUES CONNOISSEURSHIP

THE ART AUCTION

and challenge students to solve more difficult

Louise Devenish

Nicholas Dawes

creative problems.

A | 12 sessions | beg. Sept. 15 | Th 12:10–2:40 pm

A | 6 sessions | beg. Sept. 14 | W 3–5:30 pm

Is it an antique or a reproduction? Learn the

What is it worth? How do I get involved? Find

essential criteria for collecting and evaluating

answers to these questions and much more in

antique furniture. Study quality, craftsmanship,

this intensive study of the fascinating world of

condition, and design in historical context. Learn

fine art auctioneering, with a focus on New

how to judge articles in terms of excellence and

York’s auction houses. The class features

success as works of art. Develop an eye for good

frequent field trips, guest speakers, a mock

design, proportion, and authenticity. Study

auction, and a weekly look at the international

English, French, and American pieces. Field trips

world of art and objects at auction. 1 CREDIT

include The Metropolitan Museum of Art, fine

PCID 1909 $360

furniture galleries, and conservation studios.

A guest speaker from Sotheby’s speaks on validity and criteria for collecting. 2 CREDITS PCID 1900 $720

Advanced courses teach complex techniques

education, nondegree option, these classes

Certificate programs are available in several design course of study and a Parsons credential.

courses with prerequisites (listed in the description), equivalent experience may be sufficient, as determined by an advisor in the Parsons SPACE office.

DIGITAL PREREQUISITES

CLASSROOM LOCATIONS

Prerequisites are listed at the end of each course

All classes meet at the Parsons campus in

description. Macintosh Basics (or equivalent experience) is necessary for most digital classes.

We advise students to assess their computing skills realistically before selecting courses.

Greenwich Village unless otherwise noted.

Room assignments are available online via Class Finder at my.newschool.edu. Room assignments are also posted on the first day of class in the lobby of the Sheila C. Johnson

OPEN LAB ACCESS Students enrolled in any digital design class have limited access to the eighth and ninth floor

Design Center, 66 Fifth Avenue, and 2 West 13th Street.

labs of the UCC, 55 West 13th Street. Stations

DEGREE PROGRAMS AT PARSONS

in these classrooms are accessible primarily

Students can take continuing education courses

Monday through Thursday, 9:00–11:30 p.m., and weekends.

online learning

interests and backgrounds. A continuing provide students with the training they need to

equivalent experience) is a prerequisite.

30

classes in art and design for adults with varied

for credit and apply them later toward a Parsons degree with approval from Parsons

CE students registered for a digital design course

Admission. For information about the degree

can use classroom stations when classes are

programs at Parsons School of Design, visit

not in session.

newschool.edu/parsons or contact the

High-end or commercially unavailable software

Parsons Office of Admission, 212.229.5150.

may have special access restrictions. Note: For students beyond the basic level, we strongly recommend the purchase of a home computer.

Each semester, The New School brings you

Open lab time is generally insufficient for more

classes that fit your life as well as they fit

complex design projects.

your screen—be it mobile, desktop, tablet,

Digital design courses are held at 55 West 13th

or watch. Look for the computer icon to find

Street; the University Center, 63 Fifth Avenue;

all of our online classes.

and 6 East 16th Street. The UCC is primarily

Find out about online learning at The New School at newschool.edu/online.

PARSONS SCHooL OF DESIGN

Macintosh based, with some dedicated Windows NT labs and other specialized machines.

general information

31

MEDIA, FILM, AND TECHNOLOGY

MEDIA, FILM, AND TECHNOLOGY Step behind the camera to claim your space as a cineaste, complementing your skills with scholarship on the art of filmmaking. Become an expert on current digital technologies for the silver screen and beyond, mastering modern communication strategies to develop your personal voice and vision through traditional narrative and radically experimental media forms.

Find courses on Digital Design on page 8.

MEDIA STUDIES

Drugs and Media

In these courses, students learn to think critically

Noel Wolfe

and functionally about the history and evolving

A | 15 sessions | beg. Aug. 31 | W 8–9:50 pm

forms of creative and commercial media, their

In this course, we examine representations of

distribution and reception, and their use in and

drug production, use, and exchange—from

usefulness for society.

narcotics and the international drug trade, antidepressants, addiction treatments, and youth-targeted “club drugs” to PrEP and HIV prevention and flibanserin (the “female

Certificate in Film Production The New School awards a certificate attesting to successful completion of a sequence of courses in which students 34

master the art and craft of filmmaking.

For more information, see Film and Media Production in the following pages or go online to newschool.edu/ce/filmproductioncert.

Viagra”)—in a variety of media forms (fictional, advertorial, and journalistic), and interrogate the way how these representations intersect with larger questions of power, difference, and embodiment. Organized thematically, topics covered include gendering drugs; race, criminality, and moral panic; and homosexuality and perceptions of promiscuity. Class readings draw upon a range of critical and analytical approaches and conclude with an exploration of the links between the media’s representations of drugs and questions of legality and public policy.

Certificate in Screenwriting

3 CREDITS

sequence of courses in which students master the art and craft of writing for the

and the Internet, although alternative media practices are also noted. Students gain an understanding of how media texts are constructed, how they convey meaning, and how they shape one another in significant ways.

3 CREDITS

NCOM 3000 $700

Introduction to Media Studies

Music, Media, and Society Jean Oliver-Cretara A | 15 weeks | Aug. 29–Dec. 20 In his 1977 book, Noise: The Political Economy of Music, Jacques Attali describes music as “a way of perceiving the world” that serves both communicative and organizing functions within societies. In comparison with other forms of

Networked Media and Society

discourse, which must often present credible evidence to support their claims, music seems to have a fairly simple appeal. In Bob Marley’s

Kathleen Sweeney

words, “When it hits you, you feel okay.” We

A | 15 sessions | beg. Sept. 1 | Th 6–7:50 pm

examine the social organizing functions of

The network has become the dominant cultural

music through a series of queries: Is music fuel

logic of our time with new societal conditions

for political action, a distraction, or both? How

resulting from the maturing of the Internet and

does it relate to local and national identities?

mobile platforms. In this class we ask: What

What is a protest song (from Lennon to Public

tools can we use to study the place of net-

Enemy)? Is popular music organizing us not only

worked media in society? What historical

socially but economically? Through readings of

precedents might inform our evaluation of

theorists from Theodor Adorno to Tricia Rose,

networked media? How are transnationality

consideration of artists like Public Enemy and

and the nature of audience for media affected

Banda Macho of Mexico, and viewing of films

by the network? How can social media enable

like the cult classic Rockers, students explore

the formation of community? How is identity

questions like these to draw their own conclu-

performed in and with networked media? How

sions about just how much of our lives is

are constructions of youth, gender, race,

dictated by the beat that goes on. 3 CREDITS

ethnicity, and sexuality mediated through social

NCOM 3050 $700

media technologies? Can social media technologies be a vehicle for political activism? What are the commercial uses of social media? What are the ethical issues associated with distributed media technologies? Is it possible to refuse social media? Prerequisite: NCOM 3000, Introduction to Media Studies. 3 CREDITS NCOM 3016 $700

35

Real TV Stuart Cohn A | 15 weeks | Aug. 29–Dec. 20 Once confined to PBS and other educational programming, reality TV has grown into a major player in cable and network television. For better or worse, shows like The Biggest Loser and

NCOM 2311 $700

The New School awards a certificate attesting to successful completion of a

commercial film, television, advertising, video,

Continuing Education Online Info Session Writing, Liberal Arts, Languages, Media,

Jersey Shore have redefined both the TV medium and the cultural landscape. How did we get to this point, and where is reality TV going next? Who does what in the production of a reality show? How can you be a part of it? In

cinema. This curriculum can be completed

Natasha Chuk

entirely online, on campus, or through a

A | 15 sessions | beg. Aug. 30 | T 6–7:50 pm

combination of online and on-campus

This course explores media history and the basic

courses. For more information about the

concepts employed in media analysis, spanning

certificate program, see Screenwriting

the history of technologies from the magic

in the following pages or at

lantern to multimedia and stressing the

Looking to explore your passion for media

newschool.edu/ce/screenwritingcert.

relationship between media and their social,

and film, languages, writing, or liberal arts?

political, and economic contexts. Since media

Thinking about taking your career to the next

are at once technology, art, entertainment, and

level through professional development with

business enterprises, they need to be studied

themselves in the shoes of industry hopefuls as

cutting-edge management courses? Join us

from a variety of disciplinary perspectives. The

they learn how to create a series pitch and sell it

to get a program overview and pitch your

to a production company or network. 3 CREDITS

questions to our team of dedicated advisors!

NCOM 3114 $700

More questions about a class?

Get in touch! ce@newschool.edu

readings for this course reflect this multifaceted approach and draw attention to the work of key thinkers and theorists in the field. Examples are

and Management Programs

addition to studying the who, what, when, and

Tuesday, August 9, 2016, 12:30–1:30 pm EST

economics of this entertainment form, espe-

where of reality TV, the class examines the cially as cable TV has become the tail that wags the dog of the television business and a financial powerhouse fueling media empires. Through individual research, class discussions, and visits from media professionals, students put

RSVP at newschool.edu/TheNewCEonline.

drawn primarily from the visual media of

MEDIA, FILM, AND TECHNOLOGY

MEDIA STUDIES

Digital Storytelling Vladan Nikolic A | 15 sessions | beg. Aug. 29 | M 6–7:50 pm

do their images have in their own communities and in the dominant community? This course counts toward the Gender Studies minor.

Narrative and documentary storytelling through

3 CREDITS

film and video is now commonly transferred to a

NCOM 3166 $700

variety of small-screen media, including social media platforms, mobile devices, and multi-

Writing Across Media Carol Dix A | 15 weeks | Aug. 29–Dec. 20

presentation. The result is a series of vignettes reflecting the distributed nature of our natural dynamic and bringing us together in cohesive

Professional writers produce copy for a variety

cultural fusion. 3 CREDITS

of media: They write top-of-the-line stories for

NCOM 3305 $800

local, national, and global newspapers; features

eNewsletter sign-up: newschool.edu/TheNewCEInfo

for national, regional, and special-interest such as newsletters, house magazines,

Media Messages and the Mind

fundamentals, such as premise, theme, conflict,

company brochures, and annual reports; PR,

character, and plot, and then develop and apply

such as press releases and press briefings; copy

Deanne Dunning

them to new media platforms. Through case

for direct-mail campaigns and advertising;

ple-platform cross-media. In this course, students begin by engaging with storytelling

studies of cross-media, social media, blogs, Web serials, and other interactive projects, students examine stories that unfold and connect across multiple media platforms. They then undertake a series of exercises, through which they explore scene and character development, learn effective narrative techniques and structures, and develop a proposal or outline for a longer project. The class also investigates new models of funding and distribution, such as crowd sourcing and hybrid distribution strategies, that enable media makers to maintain control over their work while building their audience. By the end of the class, each student should have completed a detailed project outline along with a visual presentation. 3 CREDITS NCOM 3115 $700 36

Race, Ethnicity, and Class in Media Michelle Materre A | 15 sessions | beg. Aug. 29 | M 6–7:50 pm This course analyzes media images from the

IntroDUCTON to Digital Design Ira Robbins A | 15 sessions | beg. Aug. 29 | M 7–9:45 Concentrating on design thinking, students develop the visual language and technical skills needed to articulate design challenges, conceptualize ideas, investigate design solutions, navigate software interfaces, and both present and comment on visual output in classroom critiques. This course covers the principles of electronic image design, typography, and color theory as well as the history of graphic design and the way it continues to

order to reflect on how these images shape people’s ideas about race, class, and ethnicity.

Our analysis highlights and critiques diverse images from the perspectives of social and political significance, stylistic influences, and cultural history. A wide range of film and video is screened and discussed. We first examine the portrayal of people of color in mainstream movies, contemporary and classic. We then discuss the development of independent filmmaking in communities of color, especially African-American, Asian-American, and Latino.

We focus on the ways independent filmmakers of color have represented their own identities and experiences in and through the media they have created. How do their images differ from those in the dominant media? What influence

promotional materials for sales and, in the nonprofit sector, fundraising campaigns; and copy for nonprint media such as radio, TV, and multimedia, including the Internet. This writer’s workshop is open to beginners as well as those with various kinds of writing experience.

Students experiment with writing in different styles and share their writing for class discussion. They come away from the workshop with a range of practical writing skills that can be readily applied in different kinds of media.

photographs, text, and drawn elements such as

If anything you can put a message on is media and each of us receives between 2,000 and 4,000 messages a day, how do we take in, absorb, and respond to all that information?

Through fMRI (functional magnetic resonance imaging), it is now possible to observe which parts of the brain “light up” in response to particular stimuli. The technology shows us that in shopaholics,” shopping stimulates the same feel-good neural responses that drugs trigger in drug users. This course examines the fascinating functions of the brain and mind and the uses of this information for purposes other than medical

NCOM 3241 $700

ones, particularly by the media and in brand imaging. We look at qualia (the brain’s representations of the external world and one’s internal

Social Media Mashup

state) as well as the raw subjective sense

and convey intended meaning. Technical

Josephine Dorado

conveyed through each sensory modality:

instruction covers Adobe Photoshop and

A | 15 weeks | Aug. 29–Dec. 20

Illustrator tools and capabilities, publishing with

In recent decades, the practice of media

Adobe Acrobat, and formatting files for posting

collaboration has been redefined by technolo-

on the Internet and copying to DVD. Taught on

gies that enable people to communicate and

the Macintosh platform. 3 CREDITS

share environments across the globe. Social

logos, creating designs that have visual impact

NCOM 3200 $1,100

visual, auditory, olfactory, tactile, and taste.

We explore questions about neural information intake in relation to aesthetics, perception, opinion formation, decision making, actions and reactions, and communication. Welcome

networking, blogging and vlogging, wikis,

to the neurosociety. 3 CREDITS

instant messaging, webcasting, and gaming

NCOM 3470 $700

environments are just a few of the methods

Web Design Fundamentals Frederick Murhammer A | 15 sessions | beg. Aug. 29 | M 7–9:45 pm Everyone now has a presence online, and knowing how to construct and maintain a basic website is a necessary skill for every professional. In this course, students learn basic skills in Web design programming (HTML and CSS) and Web graphics by developing individual projects. The emphasis is on front-end Web design and learning about different formats and platforms as well as browser compatibility.

Each student designs and builds a professional portfolio and/or project website. Taught on the Macintosh platform. 3 CREDITS NCOM 3210 $1,100

available. We live in a world of ever-expanding networks, and the ways we process and “mash

The Media Business

up” the sounds, images, multimedia, and data

Mark Walton

reflect the evolving connections between us. The very process of participation has evolved with the advent of these technologies, profoundly affecting business practices, education, creative processes, community life, and democratic citizenship. We have moved as a society from isolated, passive taking in of information to active engagement with others in reshaping the world. We are a participatory culture. This course introduces the concept of social media and the mashup process as collaborative cultural exchange. While studying remix culture and collaborative process, students develop a variety of projects that involve mashing up media using Web-based techniques of media creation, editing, sharing, and online

MEDIA, FILM, AND TECHNOLOGY

A | 15 sessions | beg. Aug. 31 | W 6–7:50 pm

3 CREDITS

evolve. Students produce projects using

broad spectrum of the industry (Hollywood cinema, independent film, news media, etc.) in

magazines; copy for corporate publications,

A | 15 sessions | beg. Aug. 31 | W 6–7:50 pm An exploration of the work of media industries and the complex of factors that make the business of media so distinctive. In what ways has the media business evolved in the past 25 years? How do emergent media business models compare with legacy media industries?

What economic drivers steer the media economy? How do business and political interests influence the packaging and selling of news and entertainment media? Students address these and other questions while applying their insights to the analysis of specific media business case studies. We examine the dynamics of media by noting how news, social media, and entertainment businesses are

MEDIA STUDIES

37

structured and the cultural work they do. The

criticism with respect to the various modes of

course emphasizes the basic economics of the

inquiry that have influenced the study of

media business and the relationship between

cinema, including structuralism, semiotics,

content and distribution in a market context.

Marxism, psychoanalysis, feminism, race and

Readings, guest speakers, and creation of a

ethnicity studies, postcolonial theory, queer

hypothetical start-up provide students with

theory, and cultural studies. Students also

a broad understanding of the current media

become familiar with key concepts in cinema

environment. 3 CREDITS

studies, including realism, montage, auteurism,

NCOM 4301 $700

genre, and star studies. As students acquire a

FILM STUDIES

defines film theory and criticism, they become

Introduction to Cinema Studies

judgments about their own film experiences and

Heliodoro San Miguel A | 15 sessions | beg. Aug. 31 | W 6–7:50 pm A survey of major theories and the critical literature on film from the 1920s through the present, pairing readings with screenings and discussions about a range of films. The course

general familiarity with the literature that better prepared to form sure and sound to speak and write about those judgments with

TV Auteurs: Lee Daniels Maya Smukler A | 5 weeks | Aug. 29–Sept. 30 This course examines the work of film and television director, producer, and writer Lee Daniels. Daniels’ work revolves around the family unit and explores the spectacle of its dysfunction through the lens of melodrama and excess, both thematically and in his distinct visual style. His protagonists struggle to

a selection of programs including Grey’s Anatomy (2005– ), Private Practice (2007–2013), Scandal (2012– ), How to Get Away With Murder (2014– ), and The Catch (2016– ). Class readings include a mix of contemporary reviews and commentary and academic essays. This is one of three five-week courses on film and TV auteurs that complement one another when taken together. 1 CREDIT NFLM 2404 $250

maintain their humanity while caught between the tensions of class, race, and sexuality and the casting director turned film producer, director,

Movements in World Cinema 1

writer, and television showrunner—exemplifies

Heliodoro San Miguel

the convergence of film and TV in the contem-

A | 15 sessions | beg. Aug. 31 | W 8–9:50 pm

porary media landscape. Students are expected

Movements in World Cinema 1 introduces

to watch and write about one film or TV series

students to the history of cinema from the

each week outside of class: Shadowboxer

1890s until 1960. Beginning with the experi-

(2005), Precious (2009), The Paper Boy (2012),

ments of Louis Lumière, the creation of

The Butler (2013), and Empire (2015). Class

cinematic language by D.W. Griffith, and the

readings will include a mix of contemporary

development of “montage” by Sergey Eisenstein,

reviews and academic essays. This is one of

the course surveys changing aesthetics,

Anthony Kaufman

three five-week courses on film and TV auteurs

narrative styles, and ideologies in German,

A | 5 weeks | Nov. 7–Dec. 16

that complement one another when taken

Russian, French, Italian, and Hollywood cinema

From his breakout beginnings in 1989 with sex,

together. 1 CREDIT

of the first half of the 20th century. Topics

lies, and videotape to his Oscar nominations for

NFLM 2403 $250

covered include the poetics of the silent cinema,

clarity and skill. Students expand and refine their own impressions and responses to the cinema, variously incorporating and responding to the theories, key concepts, and critical approaches studied in class. 3 CREDITS NFLM 2400 $700

builds an overall view of film theory and

TV Auteurs: Steven Soderbergh

threat of violence. Daniels’ career—he is a former

the transition to sound, the role of genre, the rise

Erin Brockovich and Traffic to his transition to TV

of documentary, animation, experimental

following his retirement from big-screen movie making in 2013, director Steven Soderbergh has one of the most eclectic résumés in American cinema. He has directed thrillers (Contagion), surrealist comedies (Schizopolis), digital experiments (Bubble), film noir (The Underneath), documentaries (And Everything Is Going Fine), Hollywood heist movies (the Ocean’s series), and everything in between. Is Soderbergh an auteur, with a discernible authorial stamp? Or is he merely a skilled craftsman, applying his skills as a filmmaker to tell a variety of stories? This intensive five-week online course will both interrogate and employ the concept of the auteur theory with respect to Soderbergh’s oeuvre, examining the director’s continuing interest in editing and character and the tension between control and spontaneity in his filmmaking process. In addition to analyzing Soderbergh’s films and seeing how they work, the class explores his evolution as a filmmaker within a shifting film industry—one that he has sought to change—and his work in TV. This is one of three five-week courses on film and TV auteurs that complement one another when taken together. 1 CREDIT NFLM 2401 $250

MEDIA, FILM, AND TECHNOLOGY

to make and watch television. Students will view

TV Auteurs: Shonda Rhimes Maya Smukler A | 5 weeks | Oct. 3–Nov. 4 In this course, we examine the work of television creator and executive producer Shonda Rhimes

39

modes, musical comedy and escapism, propaganda and social commitment, and international studio systems and economics.

There are required weekly screenings outside of class. 3 CREDITS NFLM 2500 $700

and her production company, ShondaLand.

Rhimes’ work is a study in genre—the legal drama, the medical melodrama, and the political thriller—using the episodic structure and network television’s broad appeal to best advantage. Exploiting the sensationalism inherent in television’s one-hour format, she transforms both familiar and ordinary settings (the classroom and the courthouse) and elevated and revered settings (the White House and the operating table) into battlegrounds of sexual politics, workplace competition, and national security. Rhimes’ creative output is in constant dialogue with current events and cultural attitudes, reinterpreted through weekly cliffhangers and the dynamics of an ensemble cast. As a case study, ShondaLand’s series illustrate the major shifts taking place within network broadcasting during an era when digital platforms are challenging what it means

Film Studies

The F Word: Feminism in POPULAR TELEVISION AND Film Maya Smukler A | 15 weeks | Aug. 29–Dec. 2 In this course, we examine the relationship between feminism and popular film and TV from the postwar era through the present. How and when do feminist discourses manifest in popular media, and how do we know feminism when we see it? What is at stake in naming characters like single-gal icon Carrie Bradshaw, working girl

on culture, communication, and politics; and the

design, and sound design and gain an apprecia-

impact of technology on our definition of

tion of film history and the influence of culture

ourselves and existence. In a comprehensive

and technology on the development of the

comparative analysis, the class identifies,

cinema. The class also studies the filmmaking

defines, and discusses a variety of cautionary

process and the impact of the industry on this

science fiction films by well-known and

collaborative art. Discussion of films by directors

lesser-known masters, including Donald

including Jean-Luc Godard, Agnes Varda, Jane

Cammell, David Cronenberg, Alfonso Cuaron,

Campion, Werner Herzog, Alfred Hitchcock,

Karl Freund, Stanley Kubrick, Fritz Lang, Joseph

Orson Welles, Wong Kar-Wai, Yasujir¯ o Ozu,

Losey, Joseph Sargent, Ridley Scott, and François

Ingmar Bergman, Pedro Almodóvar, and

Truffaut. 3 CREDITS

Michelangelo Antonioni is supplemented by

NFLM 3155 $700

readings. Students acquire a general familiarity

Liz Lemon, and the Real Housewives as feminist? Do Thelma and Louise’s road trip,

become better prepared to form sure and sound judgments about their own film experiences and

Charles H. Schultz A | 15 sessions | beg. Sept. 1 | Th 6–7:50 pm Once a film is in preproduction, the producer is responsible for providing the best possible support system. The producer must organize all the elements, human and material, needed to implement the creative team’s artistic vision.

A producer’s duties may include legal and accounting work; revising the script; casting actors; finding props, wardrobe, and equipment within budget; and working with the director and editor during and after the shoot. Lowbudget and student filmmaking provides

the Bridesmaids characters’ debauchery mark

History of Nonfiction Film

them as feminist? In what ways are female

Rebecca Alvin

characters represented as feminist on screen?

A | 15 weeks | Aug. 29–Dec. 20

We also ask how feminism as a cultural

Since 1895, when Thomas Edison filmed his

movement has defined female audiences and

friend Fred Ott’s sneeze, there has been intense

affected women working in production,

interest in the ability of motion picture cameras

considering figures like Kathryn Bigelow, the first

to document our world. Filmmakers have

Skin off Your Face: Horror

woman to win an Oscar for Best Director, and

recorded events around them, whether a sneeze

Mary Serra

quality proposal. 3 CREDITS

fans of programs like Twilight and Buffy the

or a major historical event, in hopes of gaining

A | 15 sessions | beg. Aug. 29 | M 8–9:50 pm

NFLM 3456 $700

Vampire Slayer. Students are introduced to the

a deeper understanding of themselves and their

Filmmakers working in the horror genre explore

diverse and evolving definitions of feminism and

environment. This drive, combined with

and manipulate a culture’s collective fears. This

then apply them in analyzing current media

developments in thought and technology,

course is a political survey of horror films that

representations, modes of production and

resulted in what we now call documentary or

reveal a direct relationship to the social uncon-

exhibition, and audience reception. This course

nonfiction film. This course is an exploration

scious. We begin with several classics: The

counts toward the Gender Studies minor.

of the history of documentary film from the

Cabinet of Dr. Caligari, Nosferatu, King Kong,

3 CREDITS

Lumière brothers to Michael Moore, examining

Frankenstein, and The Bride of Frankenstein. We

NFLM 3008 $700

landmark works and presenting various

then examine some more or less contemporary

movements, styles, and notions of “truth.” This

pictures as examples of newly identified sub-

survey equips students with the tools needed to

genres, such as rape-revenge, splatter, and

navigate the increasingly complex world of

slasher films. Readings from Georges Bataille,

audiovisual information that many unquestion-

William Everson, Stephen King, Judith Butler, and

ingly accept as truth. 3 CREDITS

Carol Clover help us explore and expand on the

NFLM 3405 $700

concepts of terror and gender as we discuss the

Precious’ struggle for self-determination, and

40

with the range of cinematic expression and

The Producer’s Role

Find all course listings and register at newschool.edu/ce/classes or by calling 212.229.5620.

to speak and write about those judgments with clarity and skill. 3 CREDITS NFLM 3411 $700

Topics in Film Genre: Sci-Fi John Freitas A | 15 weeks | Aug. 29–Dec. 20 Since the beginning of the Industrial Revolution, people have celebrated, questioned, and struggled with the machine. The genesis of industrial technology was soon followed by the birth of its artistic and analytic child, the genre of science fiction: first in literary form, then in its true symbiotic counterpart in the arts, film.

Filmmaking in general, and science fiction film in particular, has always been obsessed with the Janus question of utopia and dystopia, asking which of these worlds we inhabit. Other themes and questions that have emerged include the mechanization of humans; technology’s effects

MEDIA, FILM, AND TECHNOLOGY

Jennifer Heuson A | 15 sessions | beg. Aug. 31 | W 6–7:50 pm

horror film in relation to themes like performacross-dressing serial killers. This course counts toward the Gender Studies minor. 3 CREDITS NFLM 3430 $700

This course lays the foundation for understanding the practical techniques, specialized

of above- and below-the-line personnel. This selection of material to the delivery of the production. Students choose a project and spend the term developing a professional-

The Business of Hollywood Amotz Zakai A | 15 weeks | Aug. 29–Dec. 20 Theodore Roosevelt said, “Far better to dare mighty things, to win glorious triumphs, even though checkered by failure, than to take rank with those poor spirits who neither enjoy much nor suffer much.” Deal making in Hollywood involves both risk and reward. Rather than listening to instructors lecturing for hours on how negotiations work and movies are put together, students in this course actually participate in hypothetical business scenarios.

The unique role-playing structure is designed to provide a glimpse of the real-world machinations of Hollywood deal making. Every student and you’ll learn from your mistakes; fall asleep

B | 15 weeks | Aug. 29–Dec. 20 C | 15 sessions | beg. Sept. 1 | Th 8–9:50 pm

technical materials and the skills and talents

controls his or her learning curve: Pay attention,

John Freitas Instructor to be announced

productions, teaching students how to assess

course tracks the producer’s role, from the

tivity, identification, and female and

The Art of Film

invaluable experience as preparation for larger

online learning Each semester, The New School brings you

at the wheel, and you’ll quickly stand out to the world. The course provides essential business knowledge for aspiring filmmakers and executives entering the film business. Readings and

classes that fit your life as well as they fit

lectures supplement the primary role-playing

your screen—be it mobile, desktop, tablet,

exercise. 3 CREDITS

range of cinematic language and the ways in

or watch. Look for the computer icon to find

NFLM 3473 $700

which complex emotions and ideas are

all of our online classes.

language, and unique aesthetics of motion pictures. The class considers the expressive

communicated to the viewer. Students analyze the basic elements of cinematic form as seen through essential properties of the medium,

Find out about online learning at The New School at newschool.edu/online.

including editing, cinematography, production

Film Studies

41

Music in the Media Business Joshua Rabinowitz A | 15 sessions | beg. Aug. 30 | T 4–5:50 pm

FILM PRODUCTION

levels, indicators and monitoring, compressors

the look of a film are demonstrated and

Intensive: Sony, Arri, RED

and limiters, boom operation, recording to

discussed. Practical tests and scenes are shot

camera, noise, and set protocol. 1 CREDIT

with an eye to solving practical problems and

NFLM 3003 $300

developing a visual strategy. 3 CREDITS

The music industry, once dominated by record

Mariusz Cichon

labels, now consists of multifaceted and

A | 3 sessions | beg. Sept. 30 | F–Sun 12–6 pm

interconnected global businesses having little to

Independent filmmakers now have several

do with records or CDs. The significance of other

options for high-end cameras and digital

kinds of media in this rapidly changing business

workflows that can create motion pictures with

continues to grow, with distribution models

a look that rivals that of productions made with

migrating from the album and the music video

much larger budgets. This workshop is a

to the downloadable single, the “everything”

hands-on introduction to the leading profes-

deal, and even the ringtone. This course offers

sional packages: Sony F65, Arri Alexa, and

an insider’s overview of the music business and

RED Epic. There is discussion and demonstration

its relationships with the media as a whole. We

of camera operation, the advantages and

survey the experiences of industry professionals,

limitations of different cameras, capture

examine case studies, and explore potential new

formats, data management (basic treatment

directions for this complicated industry—

of raw footage and transcoding options), and

changes that we, as music makers and

post-production workflow. The instructor, a

consumers, might use to our advantage.

digital media expert, leads the discussions and

Industry professionals join us as guest speakers.

brings in the latest equipment packages for

3 CREDITS

in-class testing. Students have an opportunity

NFLM 3483 $700

to shoot footage and process the data in class; by the end of the workshop, they should be able to make informed decisions about shooting and

World Cinema: Bollywood Rebecca Qidwai A | 15 sessions | beg. Aug. 31 | W 6–7:50 pm 42

This course introduces the genre of popular

posting with these cameras and workflows on their own projects. Credit students must submit a project dossier within one week of the last day of class. 1 CREDIT NFLM 3001 $300

Indian films known as Bollywood, with a focus on constructions of gender, sexuality, and national identity in the film narratives. We begin by exploring Indian cinema of the period

Location Sound Recording

immediately preceding the birth of the Indian

Jeanne Gilliland

nation-state. We analyze articulations of gender

A | 3 sessions | beg. Sept. 23 | F–Sun 12–6 pm

and sexuality in the colonial context and then

The importance of capturing high-quality sound

trace them discursively through the decades

when filming on location cannot be overesti-

that follow. We treat popular cinema as a social

mated; the inconvenience and expense incurred

text that illuminates changing ideas about

as a result of poorly recorded sound are

gender roles and sexual behavior in modern

considerable. This intensive course, taught by a

India. The course is divided into four historical

veteran of the TV and film industry, introduces

sections: the colonial period (1930s), the era of

best practices of recording and mixing sound on

Nehru nationalism (1950s), the social justice era

location. Students learn to achieve professional-

(1970s), and the commodity fetish period (2000s).

quality results with the equipment widely used

3 CREDITS

in the industry today. Practical challenges

NFLM 3492 $700

introduce students to the basic skill of conducting informed “field diagnostics”—assessing the location and choosing the best recording technique and equipment for the situation. After an introduction to the principles of acoustical theory (what is sound, and how does it behave in different environments?), students engage in

#TheNewCE #LearnGrowRepeat

MEDIA, FILM, AND TECHNOLOGY

recording and listening exercises. Lessons include training in the use of microphones, recorders, and mixers and instruction on line-up,

NFLM 3515 $1,400

The Aesthetics of Directing Shimon Dotan

Experiments in 16mm Filmmaking

A | 15 sessions | beg. Aug. 29 | M 7–9:45 pm

Joel Schlemowitz

Timothy Sutton

A | 15 sessions | beg. Sept. 1 | Th 7–10 pm

B | 15 sessions | beg. Sept. 2 | F 4–6:45 pm

This course explores the 16mm Bolex camera’s

Your challenge as a director is to realize your

wide-ranging image-making possibilities. Using

vision on the screen. Designed for students who

techniques that date back to the birth of cinema

are making or planning to make their own films,

and the trick films of Georges Méliès, students

this course covers the art and craft of directing.

learn to create in-camera effects and “ready-

We analyze the work of classic and contempo-

made” projects that go straight from the camera

rary directors, observing how they use the

to the screen. Assignments alternate between

language of cinema. Topics include framing and

the technical and the thematic. Shooting

composition, camera angles, camera move-

techniques (such as double exposure, matte

ment, blocking actors, visualizing action,

shots, optical distortion, single frame and time

creating a sequence, script breakdown, and

exposure, and hand developing) are explored in

techniques for establishing character, mood, and

class; outside of class, students create short

conflict. We explore different directing styles,

projects based on themes (such as cine-portrait,

such as the subjective approach of expression-

“camera roll,” and image-sound interaction).

ism, the pursuit of authenticity in realism, and

Historical background is provided through

the narrative conventions of Hollywood.

screenings of films by Georges Méliès, Hans

Students do a script breakdown and storyboard

Richter, Marie Menken, Stan Brakhage, Rose

for a scene they then videotape. Short scenes

Lowder, Bruce Bailey, Jim Hubbard, and Rosalind

produced on video in class demonstrate

Schneider. Necessary camera and editing

principles in practice. Noncredit students must

equipment is provided. Students will incur

bring their own camcorders; New School

personal costs for film stock, developing, and

cameras are available only for credit students.

supplies but can expect to spend less than in

3 CREDITS

regular filmmaking courses. Each student is

NFLM 3510 $800

expected to complete three projects, one of which will be selected for a final screening. No previous film experience is required. 3 CREDITS

Cinematography and Lighting Marcus Turner A | 15 sessions | beg. Sept. 1 | Th 7–10 pm

John Budde

NFLM 3631 $1,500

Film 2: Intermediate Lab

B | 15 sessions | beg. Sept. 1 | Th 12:10–2:55 pm

Jeremy Brooke

Students explore theoretical and practical

A | 15 sessions | beg. Aug. 30 | T 12:10–2:55 pm

elements of cinematography, with an emphasis

John Didato

on lighting and cinematographic language.

B | 15 sessions | beg. Sept. 1 | Th 7:00–9:45 pm

While learning techniques of studio and location

To realize an artistic vision in film requires an

lighting, students also examine historical and

in-depth understanding of the technology,

contemporary trends and styles. Theoretical and

process, and tools. In this workshop, students

technical topics explored include operation and

explore advanced concepts and techniques in

characteristics of cameras, lenses, accessory

film and digital media production through a

camera equipment, lighting, composition, digital

series of exercises that evolve into increasingly

compression, and exposure (in-camera tools like

complex collaborative projects. Topics include

histograms as well as light meters); we also

operation of advanced HD digital cameras,

discuss traditional film emulsion and laboratory

video formats and compression, the structure

processing. Professional techniques for altering

of a film crew and the responsibilities of its

Film Production

43

Film 3: Advanced Pre-Production

Film 5: Advanced Postproduction Workshop

Digital Video Production

Nikyatu Jusu

John Didato

Michele Beck

A | 15 sessions | beg. Aug. 31 | W 6–7:50 pm

A | 15 sessions | beg. Aug. 29 | M 7–9:45 pm

A | 15 sessions | beg. Aug. 30 | T 7–9:45 pm

B | 15 sessions | beg. Aug. 29 | M 8–9:50 pm

This course is an overview of the entire

With digital cameras and computer editing

Student filmmakers lay the groundwork for an

post-production and finishing process for

equipment widely accessible, the possibility of

advanced narrative, documentary, or experi-

students who have completed shooting a short

creating engaging, professional-quality moving

mental film project, learning how to develop a

film project. Class time is devoted to editing

images is within virtually everyone’s reach.

visual approach to written material. In the first

exercises, lectures, group discussions, screen-

Digital video is an exciting and powerful

weeks of the course, the class examines a

ings, and presentations by guest film

medium of expression, but knowing how to use

variety of approaches to visual storytelling, from

professionals. Topics discussed and demon-

the tools isn’t enough to enable you to create a

the concept to dramatic structures, character

strated include creating rhythm; dramatic arc

coherent and articulate video project. This

development, tone, and style. Each student

and character emphasis in scenes; cutting on,

course can help artists in any genre create

develops a script for a seven- to ten-minute film

after, and before movement; match cutting;

works that are both technically and conceptu-

based in or around New York City. In the second

symbolic and thematic editing; and A&B cutting

ally sound. Students work toward this goal by

half of the course, students engage in a series of

for documentaries. The class also explores

learning digital video editing and using it to

exercises designed to help them find the right

sound editing and design, color correction,

experience the power of editing as creative

artistic and practical approaches to their scripts

screening formats for festivals, standard

expression. They are also introduced to

while they continue refining their stories. The

industry mastering options, and distribution.

production techniques, including the use of the

important ways in which short films differ from

Prerequisite: NFLM 3680, Film 4, or permission

digital camera, storyboarding, and basic lighting

Kathleen Rugh

full-length features are discussed. The workshop

of the instructor. Students must bring their own

and sound. Several short video projects are

A | 15 sessions | beg. Aug. 31 | W 7–9:45 pm

ends with shot breakdowns, planning, budgeting

hard drive with complete film dailies to the first

completed during the term. There are no

Jenny Perlin

storyboarding, and location scouting.

session ready to edit. This course fulfills one of

prerequisites, but familiarity with the Macintosh

B | 15 sessions | beg. Sept. 1 | Th 4–6:45

Prerequisite: Filmmaking Studio 1. May be taken

two capstone requirements for Media Studies

is assumed. Students have access to New

Kevin Allen

concurrently with NFLM 3632, Film 2, with

majors with a declared concentration in Film

School digital video cameras and editing

C | 15 sessions | beg. Aug. 30 | T 7–9:45 pm

permission. This course must be taken before

Production. 3 CREDITS

software but must have a firewire drive.

This course is an opportunity for the serious

NFLM 3680, Film 4: Advanced Film Production.

NFLM 3690 $1,100

3 CREDITS

beginner to learn the fundamentals of 16mm

3 CREDITS

filmmaking, a discipline that clarifies the

NFLM 3670 $700

members, lenses and lighting equipment, shooting exteriors and interiors, gripping, production design, field sound recording, pre-production planning and breakdowns, HD workflows, and the collaborative process.

Working as a team, students set up and shoot several scenes in class and two scenes on location, rotating crew positions. The scenes are then screened and critiqued by the class.

Students hone their skills and work collaboratively to master the technical knowledge necessary to execute professional film and video projects. Prerequisite: NFLM 3660, Filmmaking Studio 1, or permission. This course may be taken concurrently with NFLM 3670, Film 3.

3 CREDITS

NFLM 3632 $1,500

Filmmaking Studio 1

44

NFLM 3700 $1,500

fundamental concepts and terminology of all digital formats. Students engage in a series of exercises in basic cinematography, lighting, scriptwriting, directing, and editing. Discussions emphasize the theoretical and practical framework of film language, and student work is critiqued by both the instructor and classmates.

Students are expected to crew on one another’s projects to develop production skills and gain on-set experience. A substantial commitment of time outside of class is required. Cameras and digital editing equipment are provided, but students will incur additional modest costs for film stock, developing, and supplies. By the end of the course, students will have experienced all aspects of MOS (nonsync) filmmaking, from pre-production to production and postproduction, and will be ready for more ambitious personal film projects at the next level of production courses. Familiarity with the Macintosh platform is assumed. 3 CREDITS NFLM 3660 $1,500

Film 4: Advanced Film Production Gregory Takoudes A | 15 sessions | beg. Aug. 30 | T 7–9:45 pm Students are guided in the production (shooting) of their own narrative, documentary, or experimental films. All students in the class crew on one another’s productions as a way of practicing the teamwork that is part of filmmaking and in order to maximize the learning experience.

The course covers all aspects of the production process as well as some ongoing (from Film 3) aspects of pre-production, including casting, production design, scheduling, and securing a crew, as well as production challenges like working with actors, communicating with a crew, sticking to a budget, and adhering to a strict. shooting schedule. Students should expect to incur some personal expenses beyond the course tuition. Prerequisites: NFLM 3660, Filmmaking Studio 1; NFLM 3632, Film 2; and NFLM 3670, Film 3. Bring a seven- to ten-page script to the first session. 3 CREDITS NFLM 3680 $1,500

MEDIA, FILM, AND TECHNOLOGY

Film Production

Digital Editing: Fundamentals Jeremy Brooke A | 15 sessions | beg. Aug. 30 | T 4–6:45 pm Affordable and professional desktop editing

SCREENWRITING

written the opening scene. Prerequisite: NSRW

Script Analysis

registering concurrently with NSRW 2800.

2800, Script Analysis, or permission required for

Douglas Morse

3 CREDITS

A | 15 sessions | beg. Aug. 29 | M 6–7:50 pm

NSRW 3810 $800

Screenwriting for the Web William Pace A | 15 weeks | Aug. 29–Dec. 20 Episodic shows were previously the exclusive

software has given all filmmakers an economi-

Loren-Paul Caplin

cal and time-efficient way to edit their films

B | 15 sessions | beg. Sept. 1 | Th 8–9:50 pm

using exactly the same tools as the pros.

Leslie McCleave

Screenwriting 2

Creating transitions, filters, titles, layered audio,

C | 15 weeks | Aug. 29–Dec. 20

Instructor to be announced

down. Worldwide distribution at the click of a

and multiple versions has never been simpler,

Whether you are a writer, a director, or a

A | 15 sessions | beg. Aug. 30 | T 8–9:50 pm

mouse button is available for any writer-creator

but knowing the tools is not enough. An

producer, an understanding of story structure

Marina Shron

of a series. Web series such as LonelyGirl15, Ask

understanding of editing conventions and the

and dramatic principles is essential. In-depth

B | 15 weeks | Aug. 29–Dec. 20

a Ninja, and Liam Sullivan’s Kelly videos

aesthetics of montage, continuity, and pacing is

analysis of a screenplay’s storyline, characters,

Students work on finishing the first half of a

demonstrate the popularity of this new format;

equally important. In this workshop, students

dialogue, images, and theme reveals a wide

feature-length screenplay. They begin by

their creators, formerly unpaid amateurs, are

learn both. Through lectures, demonstrations,

range of narrative techniques and storytelling

creating a detailed outline to solidify structure

now successful professionals. This course begins

and hands-on exercises, the course offers a

styles, from Hollywood to independent and

and simplify the writing process. In class, writers

with a review of the essentials of visual dramatic

conceptual and technical introduction to

everything in between. Students view successful

analyze their own and one another’s stories for

storytelling and an examination of produced

post-production and nonlinear editing. Students

films and analyze their scripts, learning how

strength of imagery, clarity of underlying ideas,

Web shows to help students understand what

become acquainted with workflow and HD

essential information is conveyed, how story

and effective use of elements such as unity,

works and what doesn’t work in this new

video formats, as well as the basic functionality

elements are communicated through visual

tension, obstacles, exposition, foreshadowing,

medium. They become familiar with the unique

of Avid Media Composer on Macintosh comput-

means, how dramatic momentum is built with

and cause and effect. Writing exercises help

demands of writing narratives that extend over

ers. Using professional footage, students learn

cause and effect, and what makes a character

students develop unique, complex characters.

a number of “webisodes” with a short running

techniques for organizing media, editing picture

credible and complex. Students end the term

Finally, students use their finished outlines to

time. Each student writes a series proposal, a

and sound, and outputting to various formats.

with the ability to analyze any film script and

write the first 50 pages of a draft in proper

series “bible,” an outline for a first-season run,

This course is not intended for students

apply that knowledge to their own screenwriting.

screenplay format. Weekly page requirements

and several opening webisode scripts. The

completing a Film 4 project. Students must have

This class is required for all students interested

keep them on track, while in-class reviews offer

production, uploading, and marketing of Web

their own Mac-formatted firewire hard drive.

in pursuing the screenwriting sequence and may

support, guidance, and direction. Prerequisites:

series are discussed. 3 CREDITS

3 CREDITS

be taken prior to or concurrently with

NSRW 2800, Script Analysis; NSRW 3810,

Screenwriting 1. 3 CREDITS

NSRW 3837 $800

NFLM 4627 $1,100

Screenwriting 1. 3 CREDITS

NSRW 2800 $800

NSRW 3820 $800

46

More questions about a class?

Get in touch! ce@newschool.edu

MEDIA, FILM, AND TECHNOLOGY

domain of the major TV studios, but with bandwidth constantly increasing, the barriers to independent Internet video series have come

47

Sitcom Writing Mort Scharfman

Screenwriting 1: Fundamentals

Screenwriting 3 Gregory Takoudes

The sitcom is no joke. It is a specialized, highly

Jonathan Danziger

A | 15 sessions | beg. Aug. 31 | W 8–9:50 pm

competitive form of screenwriting that has its

A | 15 sessions | beg. Aug. 31 | W 6–7:50 pm

Students undertake the challenging task of

own set of rules, expectations, and required

Lauren-Paul Caplin

finishing their feature-length screenplays. In

skills. This course investigates the half-hour

B | 15 sessions | beg. Sept. 1 | Th 6–7:50 PM

workshop, with careful guidance by the

episodic TV comedy form and gives students the

Marina Shron

instructor, each writer re-examines, tightens,

fundamental tools necessary to conceive and

C | 15 weeks | Aug. 29–Dec. 20

and rewrites the outline and existing scenes,

execute a sitcom teleplay. Over the course of the

This course for the beginning screenwriter

paying close attention to structure, logic,

semester, students research a popular sitcom,

introduces the tools, vocabulary, and techniques

motivation, complex character development,

learn its secrets, and master techniques for

used to tell a screen story and put an original

tone, and theme. There is an emphasis on the

developing premises, generating stories,

idea into outline form. Assignments illustrate

specific problems of successful scene writing

outlining, structuring, writing scenes, and

basic three-act structure, economical use of

and on development of a professional writing

editing—all in collaboration with other student

dialogue, visual storytelling elements, develop-

style that makes for a compelling presentation

writers. Students write in the voice, tone, and

ment of complex characters, revelation of

on the page. Successful screenplays are studied

style of an established show, completing a beat

background information, and effective use of

as examples. The goal for each student is to

sheet, episode diagrams, and drafts of several

dramatic tension. Students become familiar

finish the term with a polished and professional

scenes. They also learn the business of the

with screenwriting terminology as scenes from

first draft. Prerequisites: NSRW 2800, Script

sitcom. Students wishing to complete their spec

well-known films are analyzed on video to

Analysis; NSRW 3810, Screenwriting 1; NSRW

script can continue their work in Sitcom 2.

reveal structural elements in the writing. By the

3820, Screenwriting 2, with a thorough revised

3 CREDITS

end of the course, each student will have

outline of a feature-length project and a draft of

NSRW 3842 $800

developed an original idea into a detailed step

the first act in proper format. 3 CREDITS

outline for a feature-length screenplay and

NSRW 3830 $800

A | 15 weeks | Aug. 29–Dec. 20

Screenwriting

CREATIVE Writing The New School offered the first creative writing workshop in the country, pioneering a new philosophy of education. Today classes are taught using the workshop model, in which a professional writer works closely with serious-minded students who write regularly and participate actively in discussion of their own and classmates’ work. Find courses on Literature on page 69.

CREATIVE WRITING

MASTER OF FINE ARTS IN CREATIVE WRITING

can’t be known except / in the words of its making.” Other readings include Allen Ginsberg, Claudia Rankine, Fanny Howe, Pema Chodron, and the I Ching. Everyone is welcome; no writing

Live the writer’s life in New York City. Join a community of diverse voices, plug into New

or meditation experience is needed. 1 CREDIT NWRW 3912 $300

York’s publishing world, and build a network that will support you through graduation and beyond. The New School offers a Master of Fine Arts degree in creative writing.

Writers’ Gym Alice Cohen A | 10 sessions | beg. Sept. 28 | W 6–7:50 pm

Concentrations in this two-year full-time

Sometimes the most inspiring place to write

graduate program include Fiction, Nonfiction,

is in a room full of writers. Writers’ Gym is a

Poetry, and Writing for Children. Students

hands-on, improvisational writing workshop.

develop their craft in workshops and literary

This weekly writing “workout” is designed to

seminars led by internationally recognized

help students increase their flexibility and

faculty with close ties to New York publishing and the city’s literary scene.

spontaneity and generate new work. For a

49

substantial portion of every class, students will be writing in response to prompts provided

For more information, visit the Creative

by the instructor. In this multigenre course,

Writing program’s website, newschool.edu/

students will explore various ways of telling a

public-engagement/mfa-creative-writing.

story: through fiction, playwriting, and memoir.

To discuss continuing education course

Time will be allotted for participants to share

offerings in writing, call 212.229.5611.

work aloud and receive feedback. Students will present a portfolio of work-in-progress written during the course. The class is open to students who have completed at least one course in

INTENSIVES

creative writing or who have professional

Meditation and Writing

NWRW 3999 $500

writing experience. 2 CREDITS

Lisa Freedman A | 5 sessions | beg. Sept. 30 | F 3–4:50 pm Limited to 12. This five-week course offers a haven for creative people in the midst of our noisy, screen-filled city. We meditate and develop our ability to notice more and to stay open to all that arises. We bring attention to our breath, to relevant works of art, to texts, and to our own words. As we practice not judging, we make room for our writing to surprise us. As the poet Denise Levertov says in “Making Peace”: “peace … can’t be imagined before it is made /

Find all course listings and register at newschool.edu/ce/classes or by calling 212.229.5620.

Intensives

Flash Nonfiction Madge McKeithen A | 2 sessions | beg. Nov. 12 | Sat 11 am–4 pm Short nonfiction, as both finished work and scaffolding for compression, lyricism, and experimentation in longer prose narratives, is widely written and read today. In this course, we explore a variety of short (500-2,000-word) creative nonfiction forms, including memoir/

visit The Met’s European Painting Galleries,

impossible seem real? In a workshop environ-

Sculpture Courts, Medieval Art and Armor

ment, we explore the strategies and pitfalls of

Collection, and Costume Institute, as well as the

writing speculative fiction, with special

art galleries on all the floors of MoMA. A final

emphasis on the beginnings of these kinds of

paper, containing each student’s original writing

“what if” stories. Each student receives feedback

during the course, is due on the last day of class.

from the instructor and from peers on a

3 CREDITS

substantial piece of writing, experiments with

NWRW 3914 $800

techniques and forms, and ends the course with

personal essay, argument, social commentary,

a vision of the way forward. 2 CREDITS

meditation, reflection, criticism, and cross-genre

NWRW 2315 $500

Building the Sentence Randi Ross A | 5 sessions | beg. Oct. 5 | W 6–7:50 pm

Noelle Kocot-Tomblin B | 5 weeks | Oct. 3–Nov. 6 Good writing is the sum of its verbs, and every writer who wants his or her words on the page to be taken seriously must master certain skills.

In this short course, students focus on two essential components of composition that trip

hybrids. Workshop participants read short-form

One-Day Workshop: Personal Nonfiction

nonfiction essays and write and critique eight

Nancy Kelton

and future tenses and the conditional as well as

A | 1 session | Oct. 15 | Sat 11 am–4 pm

common mistakes in subject-verb agreement.

Whether the impulse to write comes from a

The class then addresses the rules of English

up even seasoned writers: verb use and syntax.

Exercises illustrate the correct use of the past

longer (2,000-word) essays. Students address

Writing from Personal Experience

nonfiction prose-writing craft as well as specific

Nancy Kelton

long-time yearning, a recent itch, or a desire to

syntax, or word order. Students practice these

A | 5 sessions | beg. Sept. 27 | T 4–5:50 pm

get down your experiences for yourself and your

skills in short original pieces that are work-

This workshop teaches students methods

loved ones, this workshop will help you capture

shopped in class. 1 CREDIT

of capturing their own memories, dreams,

your memories, dreams, childhood incidents,

NWRW 1013 $300

childhood experiences, and personal truths in

and truths in your own voice. You will learn to

a unique voice. They learn how to write with

get rid of your internal critics, express yourself

precision of thought and language, unimpeded

authentically, establish disciplined work habits,

by the inner critic. Exercises in class and weekly

avoid procrastination, and open up. In-class

writing assignments help students establish

writing exercises, home assignments, sugges-

disciplined work habits. The instructor critiques

tions for outside readings, and marketing advice

all student work, suggesting revisions and

are given.

guiding serious writers toward publication.

NWRW 0222 $200

short (500-750-word) original works and two

aspects of the compressed short-form nonfiction essay through close reading of assigned texts and classmates’ work. A variety of print and online publications are introduced, and students identify several areas of focus for individual submissions. 1 CREDIT NWRW 3429 $300

Accelerated Writing Workshop John Reed 50

Kevin Brockmeier, and Jose Saramago make the

Assigned readings provide models of subject

A | 5 sessions | beg. Nov. 4 | F 4–6:30 pm

matter, style, and form. 1 CREDIT

This four-week master class offers students four

NWRW 3426 $300

Punctuation

rounds of creative writing workshops. The advanced workflow of the class is best for fiction and nonfiction writers who have material that they want to shape and for students who want to produce new material on a deadline. Close reading, line edits, and open minds—this class takes on the most advanced workshop conversation. We’ll be looking at writing from the perspective of people who want to finish their projects, analyzing our content, our workflow, and our intentions with laserlike precision. Permission to register is required for this course. Please send a three- to five-page writing sample to Laura Cronk, cronkl@ newschool.edu, the chair of the undergraduate writing program. 1 CREDIT NWRW 4415 $300

Writing from New York City Museums and Galleries

Karen Walker A | 10 sessions | beg. Sept. 30 | F 12–1:50 pm What if we all lived underground? What if we all went blind? What if society as we know it collapsed? How do writers like Karen Russell,

Creative Writing

#LearnGrowRepeat Continuing Education Expo & Open House

51

Randi Ross

Tuesday, August 2, 2016, 6:30–8:30 pm

A | 5 sessions | beg. Aug. 31 | W 6–7:50 pm

University Center, 63 Fifth Avenue, NYC

Noelle Kocot-Tomblin B | 5 weeks | Aug. 29–Oct. 2

Ready to go back to school on your own

Star Black

Second-guess yourself no more. This course

terms? Fill in the blanks to your next

A | 8 sessions | beg. Sept. 23 | F 10–4 pm

provides a supportive structure for mastering

learning journey and #LearnGrowRepeat

New York City has a long tradition of artistic

proper punctuation. No punctuation mark is

this fall with continuing education courses

exchange and collaboration between writers

left unturned as students learn the use of the

and certificates at The New School. Start by

and painters and of exchange between writing

comma, the semicolon, the apostrophe,

joining us for free pop-up classes in writing,

and the visual arts. Kenneth Koch and Larry

quotation marks, em and en dashes, the colon,

media, and art; live music performances;

Rivers, John Ashbery and Jane Freilicher, and

parentheses, ellipses, question marks, and

one-on-one advising; and more!

James Schuyler and Fairfield Porter were close

exclamation points. Each week, students write

friends and collaborators. Derek Walcott and

short essays in which they practice punctuation.

e. e. cummings both painted and wrote, and

Everyone gives and receives feedback as part of

photographers like Rudy Burckhardt docu-

the ongoing discussion. 1 CREDIT

mented friends creating art in their studios. The

NWRW 1012 $300

class splits its time between The New School,

Art of Speculative Fiction

FUNDAMENTALS

where we share our writing, and some of the city’s preeminent art museums. Students meet at The New School from 10:00 a.m. to 12:00 noon, break for lunch, and reconvene again at 1:00 p.m. at various museums. We spend time exploring the collections and current exhibitions and writing flash fiction, “ekphrastic” poems, and other creative pieces responding to art. We

Looking for more goodies? You’ll have a chance to win prizes with raffles and giveaways and meet with continuing education program directors and faculty.

• Get one-on-one advising and sign up for courses on-site. Sample CE courses through pop-up classes.

• Enjoy being serenaded by New School musicians.

• Create, innovate, and become inspired by fun interactive activities.

RSVP at newschool.edu/TheNewCEExpo.

Fundamentals

Style and Effectiveness Randi Ross A | 5 sessions | beg. Nov. 16 | W 6–7:50 pm

Noelle Kocot-Tomblin B | 5 weeks | Nov. 7–Dec. 11 It’s how you say it. In this short course, students consider the elements that work together to create stylish and effective prose, by dissecting the choices every writer makes that add up to

the craft of critical writing from the ground up,

become sentences, sentences become para-

constructing one analytic essay in increments.

graphs, and paragraphs create a cohesive

The second half of the class is devoted to

whole. The class reads chapters from a grammar

putting these skills into professional practice,

and rhetoric textbook and completes practice

as students write artist statements, reviews of

exercises assigned weekly. A workshop for

current work, personal essays, creative pieces,

writers of all genres, absolute beginners as well

and more. Students read top critics in their fields

as experienced professionals, who want to

as well as writers from the canon particularly

better understand all the tools in the tool box.

relevant to their own work. 3 CREDITS

3 CREDITS

NWRW 1030 $800

NWRW 1119 $800

prose by best-selling authors, including Toni and students write short pieces inspired by the readings and workshop them in class. This

Faculty Profile: Luis Jaramillo

course offers a supportive environment in which

John Reed A | 15 sessions | beg. Aug. 30 | T 6–7:50 pm

Sharon Mesmer B | 15 weeks | Aug. 29–Dec. 20 “A poem,” said William Carlos Williams, “is a small (or large) machine made of words—

Academic Writing: Short Course

important work.” In this workshop, students learn how to build verse, from the individual word through lines and stanzas to the finished,

Carol Goodman

polished poem. Poetic inspiration is explored:

A | 10 weeks | Sep. 26–Dec. 4

what activities can summon it and how to use

to think critically about and strengthen your

Luis Jaramillo is the author of The Doctor’s

Writing well is the key to success in college.

it when it happens. Writing exercises help

unique writing style. 1 CREDIT

Wife, the winner of the Dzanc Books Short

This course teaches students the basics of

students practice basic elements of the craft,

Story Collection Contest, an Oprah Book of

academic writing: the nature of research; the

such as line breaks, voice, and openings and

the Week, and one of NPR’s Best Books of

skills of criticism, analysis, and argumentation;

closings. Students read a variety of modern and

2012. His work has appeared in Open City,

the process of revision; and the fundamentals

contemporary poets, selected according to the

of correct grammar and American English

interests and needs of the class. In every class

usage. Students for whom English is a foreign

meeting, students’ poems are read and

language should take ESL Academic Writing

discussed to clarify their strengths and develop

instead of this course. 2 CREDITS

students’ understanding of the process of

NWRW 1014 $300

Creative Academic Essays

Gamers (Soft Skull Press), Tin House magazine, H.O.W. Journal, and Red Line

Justin Sherwood

Blues. He is the associate chair of the

A | 15 sessions | beg. Sept. 1 | Th 6–7:50 pm

Creative Writing program at The New School,

The academic essay is an essential genre for

where he teaches courses in fiction and

college students and creative writers alike. In this course, creative writing assignments, short essay prompts, and guided readings help 52

Beginning Poetry Workshop

efficient, with no unnecessary parts, doing

style. The class reads examples of effective Cade Bambara, Garrett Hongo, and Amy Tan,

POETRY

students become comfortable with writing well-researched and well-supported expository essays. We read work by James Baldwin, Audre

nonfiction. He is also a co-editor of the

NWRW 1126 $500

revision. 3 CREDITS NWRW 2203 $800

journal The Inquisitive Eater: New School Food. Jaramillo received an undergraduate

53

degree from Stanford and an MFA from The New School.

Lorde, Claudia Rankine, John Jeremiah Sullivan, and others for models of clear, engaging analysis and argumentation. Students also learn how to use library systems and online databases to conduct research. This course is for those who need practice with academic essays and who seek a compelling critical voice for their writing. 3 CREDITS NWRW 1122 $800

Tools, Not Rules: Rhetorical Grammar Joseph Salvatore A | 15 sessions | beg. Aug. 29 | M 6–7:50 pm Not a traditional course in grammar, this class examines the most complex tool in the writer’s tool box—the sentence. The course is guided by

Writing for Artists

the belief that as writers, we need to know not only how to use this tool but how to talk about

Rebecca Reilly

it. The goal for students is not to memorize

A | 15 sessions | beg. Aug. 29 | M 6–7:50 pm

grammar rules but rather to understand how

Writing is performance. Visual artists, designers,

those rules can be used to produce a wide range

musicians, writers, dancers, filmmakers,

of rhetorical effects. In order to manipulate

actors—artists of every kind come together in a

those rules, writers must understand them. The

supportive workshop environment to develop

course begins at the beginning: nouns, verbs,

their writing skills. Students practice the skills

subjects, predicates, all the parts of speech.

of argumentation, research, and clarity of

Students then learn to analyze sentences in both

expression that benefit critical pieces as well

what they read and what they write; they learn

as the kinds of writing they will likely have to

not only what syntax is but how to control it

produce as professional artists or critics in the

consciously and how the decisions they make

field. In the first half of the class, students learn

will affect readers. They come to see how words

Creative Writing

Poetry

Poetry and the Creative Process Richard Tayson A | 15 sessions | beg. Aug. 29 | M 6–7:50 pm “If you can paint with a brush, you can paint with words,” a teacher told Joni Mitchell when she was in sixth grade. Just as writing can be compared to painting, it can also be analogized to creating music and other forms of art. Open to all levels of experience, this poetry workshop considers how the arts influence and strengthen each other. How is writing a poem like composing a song, making a film, designing a garment, or performing a monologue? We think about how poems get made and make them by harnessing various theories of art. We discuss student work in an atmosphere open to all forms of creativity. Student participation includes deciding on readings together from multiple creative disciplines, using all art forms

something from the other. Experiments in

ponder the essential mystery of putting words

recent innovations to the poetry of the Middle

various styles are encouraged. Work is read

on paper—how to discover material, conquer

Ages. Each week, suggested assignments,

aloud and examined. Promising projects are

initial confusion or lack of confidence, and

illustrated by a wide range of models, serve as

developed under the instructor’s supervision,

proceed with discipline. Basics are stressed—

jumping-off points from which to explore. Every

and consideration is given to publication

character, story, point of view, voice, style—as

strong poem is experimental. Students try old

possibilities. An editor or writer may occasion-

well as rhythm, pacing, psychological subtlety,

forms, invent new ones, and learn to see how

ally visit the class to share his or her experiences

development, imagery, color, tone, and the

failure can provide the basis for their best work.

with students. 3 CREDITS

power of what’s not stated but is nonetheless

Students are also offered help in preparing and

NWRW 3303 $800

made clear. We discuss one another’s original

submitting work for publication. Written

stories as well as classics by Chekhov, Joyce,

comments are given on all work submitted, and

and others. Assignments are given to students

private conferences are available. For permission to register, send ten sample pages by August 1 to the instructor, c/o New School Writing Program, 66 West 12th Street, room 503, New York, NY 10011. 3 CREDITS NWRW 4213 $800

FICTION

Novel Workshop Catherine Texier A | 15 sessions | beg. Aug. 30 | T 6–7:50 pm This workshop is for students who want to develop the discipline and skills needed to write

who need a gentle goad. Each story is individually critiqued by the instructor, and marketing advice is given. Professional writers and editors occasionally join our discussions. 3 CREDITS NWRW 3308 $800

a novel. Exercises keep the class writing at a fast clip and are aimed at developing facility with plot, dialogue, and meaning. Students encounter

Great American Short Story

elements of the novel, such as character, story,

as inspiration. 3 CREDITS

Beginning Fiction

different possibilities of form, style, and subject

Alexandra Shelley

NWRW 3845 $800

Sharon Mesmer

matter through close readings of historical and

A | 15 sessions | beg. Aug. 31 | W 6–7:50 pm

A | 15 sessions | beg. Aug. 30 | T 6–7:50 pm

contemporary novelists including Charles

This is a workshop for story writers of all levels.

Jessica Sholl

Dickens, Jane Austen, Jean Rhys, James Baldwin,

Because the short story is just that—short—

B | 15 weeks | Aug. 29–Dec. 20

Joan Didion, and Lynne Tillman. Students share

every element of this miniature world is crucial.

This course begins with short writing exercises

their work with the class weekly, and the

Discussions and writing exercises focus on such

designed to jump-start creative thinking and to

instructor provides written comments. The

aspects of the craft as creating characters who

explore fiction basics: character, dialogue, plot,

desire to write a novel is the only prerequisite.

can be picked out of a crowded room, making

point of view, and imagery. Students then

3 CREDITS

dialogue sizzle, using settings that appeal to all

submit longer pieces to be discussed in a

NWRW 3301 $800

of the senses, and taking emotional risks. To

Poetry: The Language of Music John Johnson A | 15 sessions | beg. Aug. 29 | M 8–9:50 PM This study of musical poetics focuses on the 54

creative use of other poems, from the most

buried linguistic and musical structures of poetry and on the way these structures create voice and meaning in a poem. We discuss the way music serves as a muse for the poet and creates a relationship between form and content. Some class time is devoted to close reading of established and younger poets

workshop setting, which are reviewed with

observe these techniques, each week we look

particular attention to technique, style, and

under the hood of a short story by a contempo-

narrative structure. Readings include works by James Baldwin, Joan Didion, Mavis Gallant, Virginia Woolf, and Paul Bowles. 3 CREDITS NWRW 2305 $800

representing different poetic styles, and to close listening to the voices of poets reading from

“ The precise role of the artist … is to illuminate that darkness, blaze roads through that vast forest, so that we will not, in all our doing, lose sight of its purpose, which is, after all, to make the world a more human dwelling place.”

rary writer to see how it operates. Pieces by workshop members are read beforehand by fellow students and the instructor, who offer both written critique and useful class discussion.

The goal: writing and honing stories until they work and understanding why they do. 3 CREDITS

their own work. Most class time, however, is

Fiction Writing

devoted to examination of student writing, with

Sidney Offit

the goal of helping students find their own

A | 15 sessions | beg. Aug. 30 | T 10–11:50 am

music and voice within the poem. This course is

This course acquaints students with aspects of

open to poets at all levels, but beginners are

fiction-writing technique. It is designed for

The Art of Suspense in Fiction

especially welcome. 3 CREDITS

students trying to develop a project or find the

Katia Spiegelman Lief

NWRW 3205 $800

approach with which they can best express

Patricia Carlin A | 15 sessions | beg. Aug. 31 | W 4–5:50 pm Permission required. “Good poets borrow; great poets steal.” Poetry in English is a storehouse we can raid at will. The focus in this workshop for experienced writers is discussion of student poems, but we also explore ways to make

Creative Writing

NWRW 3327 $800

A | 15 weeks | Aug. 29–Dec. 20

mood, characterization, dialogue, plot, and

Fiction: Memory, Imagination, Desire

story. Readings from the works of Joyce,

Robert Dunn

hand in hand but often don’t. Instead, we get

Hemingway, Sterne, and D. H. Lawrence

A | 15 sessions | beg. Sept. 1 | Th 6–7:50 pm

literary fiction that doesn’t move and suspense

demonstrate these elements. During the early

Fiction, though we write it to share with the

fiction without soul. In this course, the goal is to

weeks, the instructor may give assignments to

world, comes from a place within us that is a

merge the two to create exciting fiction that

help students explore their own experiences for

private, interior alembic in which memory and

satisfies on every level. Through work shared

realization in a short story or novel. Students

imagination, heated by desire, mix. This course

in class and assigned exercises and reading,

may be asked to write a scene depicting a

helps students discover this special place and

we explore the essentials of successful fiction

child-parent relationship or to create a dialogue

the voices that arise from it and learn how to

writing—how to develop story and character,

between characters one of whom wants

draw these voices into a well-written story. We

how to write good dialogue, and how to

themselves. The instructor discusses viewpoint,

Making Poems: An Advanced Workshop

James Baldwin, New School Alumnus

55

In both literary and commercial fiction, good writing and compelling suspense should go

Fiction

self-edit. Students master the techniques that

prose full of insight and provocative ideas. This

make for can’t-put-it-down suspense. This

workshop is for serious beginners and experi-

course is open to both beginning and seasoned

enced writers of essays, memoirs, narratives,

fiction writers, whether of stories or novels, who

humor, satire, travel, and op-ed pieces. Writing

wish to explore the crossover territory where the

discipline is emphasized, and students receive

commercial thriller meets literature. The goal is

writing prompts and assignments as well as

for each student to finish a knockout story or

working on their own projects. In workshop,

the outline and first chapter of a novel. The

they receive supportive critiques from their

suggested reading list includes The Collector by

peers. Exercises and critiques are designed to

John Fowles, Saturday by Ian McEwan, Strangers

help the writer develop a unique voice and style.

on a Train by Patricia Highsmith, The Spy Who

The instructor offers guidance in using examples

Came in from the Cold by John le Carré, The Poet

and anecdotes and incorporating dialogue and

by Michael Connelly, Mystic River by Dennis

other techniques more common in fiction

Lehane, and Thriller: Stories to Keep You Up All

writing. For inspiration, we read and discuss

Night, edited by James Patterson. 3 CREDITS

exemplary work by Joan Didion, David Sedaris,

NWRW 3334 $800

Maureen Dowd, and E.B. White. Finally, print

NONFICTION Introduction to Creative Nonfiction

and online publishing markets are analyzed, with tips about submission strategies and marketing suggestions for publishable work.

3 CREDITS

NWRW 3403 $800

Lisa Freedman A | 15 sessions | beg. Aug. 29 | M 6–7:50 pm B | 15 sessions | Aug. 29–Dec. 20

The Experimental Essay

This workshop is for serious beginners as well as

Robert Lopez

more experienced writers who want to delve

A | 15 sessions | Aug. 29–Dec. 20

into the still-evolving genre of creative nonfic-

The experimental essay trespasses on poetry,

tion, which includes personal essay, memoir,

fiction, and nonfiction. It evolves from trials,

documentary, and literary journalism. Through

impulses, longings, and risks—often culminating

in-class writing and weekly assignments,

in a form that is both surprising and inventive. It

students develop the skills to build a narrative

is a genre in which, as Emerson says, “every-

frame around real-life events and situations.

thing is admissible, philosophy, ethics, divinity,

Student work is read and discussed in class.

criticism, poetry, humor, fun, mimicry, anec-

Readings from both The Art of the Personal

dotes, jokes, ventriloquism.” We read a variety of

Essay: An Anthology from the Classical Era to

experimental essays, spanning different time

the Present, edited by Phillip Lopate, and Vivian

periods and cultures. Paying close attention to

Gornick’s The Situation and the Story guide our

form as well as content, we study contemporary

considerations of the choices made by James

essayists including Susan Sontag, Anne Carson,

Baldwin, Joan Didion, Natalia Ginzburg, Walter

Joe Wenderoth, and Annie Dillard. We also delve

Benjamin, and other masters. 3 CREDITS

into the history of the essay by reading Seneca,

NWRW 2401 $800

Sei Sh¯ onagon, Montaigne, Pessoa, Barthes, and

Betty Liu

56

others. Students write several experimental essays, which are read and discussed in class.

Finding Your Voice in Nonfiction Candy Schulman A | 15 sessions | beg. Aug. 31 | W 6–7:50 pm “Fiction is obliged to stick to possibilities. Truth isn’t,” wrote Mark Twain. His words have even more resonance today, when so many actual events are harder to believe than the inventions of a novelist. Nonfiction offers limitless creative possibilities for contemporary writers willing to observe our complex world and translate their observations and experiences into dynamic

Creative Writing

We also talk about experimental essays in the context of current literary publishing. Our aim is to discover how, because of its ability to engage with and mimic a variety of forms and genres, the essay is the most radical, experimental, comprehensive, and inventive, as well as the most forgiving, of the literary genres. 3 CREDITS NWRW 3520 $800

Literary Nonfiction Christophe Pastore A | 15 weeks | Aug. 29–Dec. 20 Students explore selected forms of creative nonfiction: the personal essay, reportage, biography, travel writing, food writing, profile, memoir, and linked fragments. The use of dialogue, setting, characterization, plot, and narrative voice is emphasized. The discipline of writing regularly is encouraged and supported through the assignment of short weekly exercises. Students are also assigned longer pieces that are workshopped in class.

Discussions about the forms, techniques, and history of nonfiction are supplemented by readings from work by Joan Didion, V.S. Naipaul, Jamaica Kincaid, W. G. Sebald, Sherman Alexie, and Abigail Thomas. 3 CREDITS NWRW 3405 $800

Writing for New York City Newspapers, Magazines, and Webzines Susan Shapiro A | 15 sessions | beg. Aug. 29 | M 6–7:50 pm B | 15 sessions | beg. Aug. 29 | M 8–9:50 pm The New York Times, the Daily News, Newsday, the New York Post, and the Wall Street Journal all use freelance writers for profiles, features, reviews, news stories, humor, and editorials. So do New York magazine, the Village Voice, Time Out New York, and the New Yorker. Taught by a writer whose work has appeared in more than 100 publications, this course reveals the secrets of breaking in. Topics include tailoring pieces to specific columns, writing a perfect cover and pitch letter, contacting the right editors, and submitting the work, following up, and getting clips. Assignments are read and critiqued in

JOURNALISM AND FEATURE WRITING Journalism Basics: Digital Era Richard Huff A | 15 weeks | Aug. 29–Dec. 20 Writing a well-structured, accurate news or feature story that resonates in the current multiplatform landscape is a critical skill for today’s journalists. Students interested in the craft of journalism are challenged to write clear, interesting stories on deadline and suitable for a variety of media including newspapers, websites, magazines and some forms of social media. With plenty of encouragement, insider tips, and more, students learn how to develop news and feature story ideas, how to write reviews and columns, how to structure a story from start to finish, how to find sources, how to conduct interviews, and how to produce marketable pieces. Students are also introduced to the fundamental skills of being a journalist beyond writing, such as research, establishing tone, fact checking, pitching outlets to sell their work, and ethics. A selection of contemporary journalism from newspapers, magazines and online journalism outlets is examined and critiqued on a regular basis. There are weekly writing assignments of varied lengths on topics

class. Speakers include top Manhattan editors.

3 CREDITS

NWRW 3601 $800

Arts and Entertainment Journalism Matthew Melucci A | 15 sessions | beg. Aug. 31 | W 6–7:50 pm This course teaches aspiring writers and journalists the art of composing music, theater, or movie reviews, features, news stories, and opinion pieces for print and online media.

Whether your first love is attending live rock shows or catching the latest indie movie or Broadway play, this course takes you through the sometimes difficult process of gathering the facts and interviews necessary to piece together stories about artists and events to sell to entertainment magazines and other media sources. The class works on structure, coherence, and style as well as voice. What goes into landing an interview with a top artist or celebrity? How do you get the backstage access that will give your feature story the color it deserves? How do you let go of being a fan and let the journalist out? 3 CREDITS NWRW 3611 $800

chosen by the students and a basic multimedia project to end the semester. 3 CREDITS NWRW 2601 $800

More questions about a class?

Get in touch! ce@newschool.edu

Journalism and Feature Writing

57

SPECIAL TOPICS Writing and Activism Lisa Freedman A | 15 sessions | beg. Aug. 31 | W 6:00–7:50 pm “Stories are compasses and architecture; we navigate by them, we build our sanctuaries and our prisons out of them” (Rebecca Solnit). In this workshop, each writer identifies and develops a few stories the world needs to hear. We live at a time when huge corporations assert significant control over the stories that get told. This can make it hard to express our own truths, which can be complicated and even subversive. To support our efforts, we meditate and share our experiences with other kinds of self-care; offer one another concrete supportive feedback; find inspiration and useful models from storytellers such as Ta-Nehisi Coates, Joanna Macy, and others; experiment with different genres, from poems and personal essays to pamphlets and manifestos; consider a range of interconnecting issues, including climate change, xenophobia, inequality, and more; and brainstorm ways to share our ideas and stories with audiences within and beyond our New School and social

Personas: developing a Creative Internet Presence

Playwriting from Personal Experience

Ali Osworth

A | 15 sessions | beg. Aug. 31 | W 8–9:50 pm

A | 15 sessions | beg. Sept. 1 | Th 6–7:50 pm

How do you start writing a play? In this

It’s difficult for writers, artists, and others in

workshop, students use personal experience as

Writing, Liberal Arts, Languages, Media, and

creative fields to navigate the ever-shifting

a springboard for generating original characters,

Management Programs

landscape of the Internet, which offers a

stories, and imagery for the stage. Basic

bewildering array of outlets—Facebook, Twitter,

elements of playwriting are explored through

Tumblr, WordPress, Pinterest, Buffer, Klout,

in-class writing exercises and weekly writing

YouTube. Yet the Internet offers us unprece-

assignments. We experiment with the possibili-

Looking to explore your passion for media and

dented opportunities to put our best work

ties of dramatic storytelling, with an emphasis on fictionalizing and transforming personal

film, languages, writing, or liberal arts?

forward. In this course, we examine the titans of Internet content creation and publication within

experiences and memories. Students read their

the context of creative professions. Students

own work aloud and discuss it in class and also

create and maintain their own social media,

read selections from well-known playwrights.

website, and personal brand with the support

By the end of the course, students will have

of the instructor and other students. Basic

completed the first draft of a one-act play or

questions to our team of dedicated advisors!

HTML is taught. Many GIFs are embedded. No

a collection of very short plays. Open to all levels, this workshop offers a safe, supportive

RSVP at newschool.edu/TheNewCEonline.

Web experience is required, and all levels are welcome. The course will be accompanied by a

environment for a hands-on exploration

course blog/resources website maintained by

of playwriting. 3 CREDITS

the instructor. All readings, video clips, and

NWRW 3708 $800

Alice Cohen

Continuing Education Online Info Session

Tuesday, August 9, 2016, 12:30–1:30 pm EST

Thinking about taking your career to the next level through professional development with cutting-edge management courses? Join us to get a program overview and pitch your

resources will be located online. 3 CREDITS NWRW 2002 $800

media communities. 3 CREDITS NWRW 2415 $800

Multigenre Memoir Rebecca Reilly

58

Children’s Book Illustration and Writing

A | 15 weeks | Aug. 29–Dec. 20

Jacquie Hann

heightened language of poetry with the

This workshop takes the desire to write the self as its starting point. Poetic autobiography is a hybrid form that combines the immediacy and

A | 15 sessions | beg. Aug. 29 | M 8–9:50 pm

narrative and descriptive powers of prose.

In this course, each student develops a

Students at all levels, particularly beginners,

children’s book from an initial concept to a

work on developing voice and style through a

“dummy” ready for submission to a publisher.

combination of creative and academic writing.

The class explores the entire production

Weekly assignments encourage students to

process, including searching for ideas, writing

chronicle aspects of their own daily existence

a first draft, making sketches and character

from various perspectives and to depict their

studies, editing, creating finished artwork and

lives through condensed fragments rather

dummies, and writing cover letters and

than linear narratives. For inspiration, we read

submitting a finished work to publishers.

authors such as Gertrude Stein, Anne Carson,

Writing assignments help students focus their

Jamaica Kincaid, Edmond Jabes, Frank O’Hara,

ideas and build their stories. Illustration

W. G. Sebald, and Kamau Brathwaite. 3 CREDITS

assignments lead to creation of a portfolio that can be shown to art directors. Weekly critiques

NWRW 1123 $800

help students hone their individual styles.

3 CREDITS

NWRW 3812 $800

Creative Writing

Special Topics

studies in Culture and Society Our classes offer bold ways to better the world through critical inquiry, engagement, and expression. Here all students can study with both scholarly rigor and intellectual freedom, exploring topics such as Arts and Social Engagement; Ethics, Power, and Justice; Literature, Culture, and Democracy; Gender and Sexuality; Race and Ethnicity; Psychology; Arts and Healing; and Food Studies.

STUDIES IN CULTURE AND SOCIETY

ARTS AND SOCIAL ENGAGEMENT

The Art of Viewing Art

Explore the breadth of expression and modes of

A | 15 sessions | beg. Sept. 1 | Th 1–2:50 pm

engagement that make the arts social. Courses

Learn to use the city’s galleries and museums

examine questions like: Who defines the arts?

as your classroom. Each week, students visit a

For what purposes? If imagination fuels the arts,

different exhibition. Course lectures illuminate

this pathway of courses connects imagination

the exhibitions in historical context and from

and creativity to societal insight and action.

a broad cultural perspective. Guest speakers

Find courses on Fine Arts on page 20.

include artists, gallery owners, curators, and

John Zinsser

art critics. We view a mix of contemporary

The Arts and Social Engagement Julia Foulkes A | 15 sessions | beg. Aug. 29 | M 4–5:50 pm A poem can change the world—or just one person’s life. What explains the connection between an artwork and an individual, a wider

and historical shows and compare the artworks we have seen. The New York art world offers eye-opening experiences for those who know how and where to look. This course is for noncredit students only; credit students must register for NARH3010.

61

NARH 0010 $600

public, a world? This course serves as an introduction to a pathway of courses that investigate this question by examining the

The Human Experience

variety of ways in which the arts make and

Toby Talbot

meet people. We explore different modes of

A | 15 sessions | beg. Aug. 30 | T 12:10–2:50 pm

engagement: from the creation of stories that

Documentaries are living stories, and “the

help us imagine and understand the complex

viewer is the participant,” wrote Roberto

lives of others to the research that informs this

Rossellini. In this course, we look at a wide range

process; from criticism and curation that deeply

of documentaries that question, inspire thought,

analyze artworks to arts in the service of

and make our world larger. There are portraits of

political ends; from the institutions and markets

individuals, communities, historical events, and

that channel the arts to creative therapies that

pressing social issues. How can these films

help heal wounds. Different publics build and

create empathy and trigger engagement? Since

need different artworks, so we also look at how

each spectator responds in accordance with his

networks—cities, institutions, collectives—shape,

or her own experience, discussions are an

undermine, or support the arts. We think about

important aspect of the class. The following

what arts and engagement mean: Who defines

films are scheduled: Battle of Stalingrad,

these ideas, to what ends, for what purposes,

depicting the brutal pivotal battle between

for how long? Case studies ground our broad

Germans and Russians in World War II; Primary,

investigation into the way imagination and creativity connect to societal insight and action.

The course also introduces students to the variety of theory, practice, and experience in the arts in which New School faculty are engaged.

3 CREDITS

Find all course listings and register at newschool.edu/ce/classes or by calling 212.229.5620.

NARH 2200 $700

Arts and Social Engagement

the landmark observation by pioneering

performance artists as Richard Long and Francis

nomadic, and eventually deconstructed. In

filmmakers Richard Leacock and Alfred Maysles

Alys. We discuss these artworks in conjunction

addition to sessions on postmodernism and

of the 1960 presidential campaign; Transit,

with more ruminative essays by Rebecca Solnit

deconstruction, the class explores major themes

Maysles’ final film, about passengers aboard

and W.G. Sebald. Coursework involves both

in urban sprawl, historic preservation, the

America’s longest long-distance train route;

designing a walk and researching one kind of

architect as a star, and altered visions of the

Marlene, an inventive portrait by Maximilian

walk that students are most interested in.

cityscape following 9-11 and Hurricane Katrina.

Schell of the famed actress, with clips of her

Weekly response statements organize class

These topics take us around the globe, from the

films; The Other Side of Immigration, a rare look

discussion. 3 CREDITS

United States to Europe, Latin America, and the

into the roots of illegal immigration; The

NARH 2120 $700

Middle East. The works and words of architects

Newburgh Sting, a film exploring how the FBI

Rem Koolhaas, Frank Gehry, and Zaha Hadid

targets Muslims; Stolen Childhoods, about child labor throughout the world, narrated by Meryl Streep; India’s Daughter, about the brutal gang rape of a 23-year-old medical student on a Delhi bus; Dateline-Saigon, in which five young journalists risk their lives in Vietnam to bring back a story no one wanted revealed; My Afghanistan: Life in the Forbidden Zone, based on civilian photographs; Our Terrible Country, a film following a Syrian dissident during the current revolt; The Return, about ex-prisoners attempting to resume a normal life; When Worlds Collide, in which an indigenous Peruvian leader attempts to protect the Amazonian rain forest; Family Portrait Sittings, a film using photographs, interviews, and home movies to lay out the family history of filmmaker Alfred Guzzetti; Mother and Son, famed film director Sokorov’s powerful film about a son attending his dying mother; and Grizzly Man, in which 62

Werner Herzog tracks an Arctic explorer’s obsession with grizzly bears. There will be occasional guest speakers and, if necessary, a substitute for a particular film. NO CREDIT NSOC 0840 $600

Art and Walking

inform the lectures and class discussions.

CREATIVE ECOLOGIES: ART AND THE ENVIRONMENT

3 CREDITS

NARH 3880 $700

media studies, music, art, and literary criticism.

dates back to the first civic commissions in

3 CREDITS

world, and what radical shifts in thinking might

Renaissance Italy and extends to our century in

NPHI 2830 $700

be still necessary and/or in the making? The

examples such as public art in New York’s South

class investigates the still-developing set of

Bronx. Likewise, we have seen the arts put into

attitudes about nature stemming from writers

the service of politics, with such historic

such as Emerson, Thoreau, and Muir while

examples as Russian Constructivism and the

moving on to more challenging “eco-poetical”

Mexican muralist movement. New to the

thinking from contemporary critical voices

current moment, however, is an agreement—if

concerned with how we treat nature. These

not necessarily a commonly held understanding—

writings question humans’ relationships to other

that aesthetic practices contribute something

species, the environment, and multiple different

unique and distinct to the social and political

“natures”—in the real world and in the imagina-

well-being of society, and that the arts on their

tion. Creative projects to be explored include a

own terms advance social and political justice.

conceptual park commemorating smog, a

This class offers a rigorous examination of

speculative museum tracking the sources and

notions of justice as they relate to art and art

consequences of waste, and an unusual

practices. We examine key terms such as

zero-carbon building material made from living

access, happiness, rights, commons, place

and cultural contexts in which they arise. How

3 CREDITS

do we experience successful examples of

NARH 3450 $700

politically engaged art, and how can we discuss

tourism to conceptual projects. The experience

tourism of China, Egypt, and India; garden design; the experience of walking within art collections; and the work of such major

studies in culture And society

there such a thing as truth and authenticity

ideas about surviving and thriving in the natural

Great Pacific Plastic Gyre and climate change.

photographic surveys of the West and armchair

Is beauty a necessary feature of art? Are there

students of philosophy, literature, visual and

has long been part of the art experience. This

and Islam; the grand tour; the 19th-century

art to nature? What makes objects beautiful?

The claim that art enhances the quality of life

Immersing oneself in the world through walking

include the pilgrimage roads of Europe, India,

us create a just society? What is the relation of

paradigm-shifting terms. Where do we get our

advance social justice and the social, political

of many recent conceptual projects. Examples

it enhance human experience? Does art help

judgment? This course will be of interest to

beekeeping and rooftop gardens to tackling the

immersive experience that has been a focus

general, a human good? Roughly speaking, does

A | 15 sessions | beg. Sept. 2 | F 10–11:50 am

A | 15 sessions | beg. Aug. 31 | W 6–7:50 pm

stroll within a private collection and the

questions they raise. What is art? Is art, in

Carin Kuoni

at current international art projects that

museum walk contrasted with the more casual

and artists in society and the philosophical

environmental issues in practical and often

making, and participation and then look in depth

walking, with the purposeful, determined

and literature. We examine the place of the arts

activists—who propose novel approaches to

with considerations of everything from urban

of viewing art is framed by the metaphor of

This course focuses on the visual arts, music,

creative thinkers—artists, scientists and

forms that are neither plant nor animal, along

of art that involves walks, from pilgrimage to

A | 15 weeks | Aug. 29–Dec. 20

Just Art: Art and Social Justice

This course looks at innovative projects by

Valerie Mendelson

class explores both the theories and practice

Timothy Quigley

ways to determine quality in works of art? Is

Brian Karl A | 15 weeks | Aug. 29-Dec. 20

Introduction to Philosophy of Art

Contemporary Architecture Emily Bills A | 15 weeks | Aug. 29–Dec. 20 This course explores the major issues informing architecture and urban planning from the 1960s to the present. The course begins with the emergence of challenges to the modernist approach to design, as the signs and signifiers of Las Vegas replace the steamship as design model. Architecture becomes brutal, then

in art? What is artistic expression? Is there a connection between aesthetic and moral

#LearnGrowRepeat Continuing Education Expo & Open House Tuesday, August 2, 2016, 6:30–8:30 pm University Center, 63 Fifth Avenue, NYC Ready to go back to school on your own terms? Fill in the blanks to your next learning journey and #LearnGrowRepeat this fall with continuing education courses and certificates at The New School. Start by joining us for free pop-up classes in writing, media, and art; live music performances; one-on-one advising; and more!

it effectively? What scales and time frames need

Looking for more goodies? You’ll have a

to be considered? Ultimately, what is the

chance to win prizes with raffles and

relationship between aesthetics, usefulness, and

giveaways and meet with continuing

social cohesion? In content and structure, the

education program directors and faculty.

course intersects with the international biennial Vera List Center Prize for Art and Politics, directed by the Vera List Center at The New School, and students will have the opportunity to evaluate in their own work finalists for the prize. 3 CREDITS NPUB 3222 $700

• Get one-on-one advising and sign up for courses on-site. Sample CE courses through pop-up classes.

• Enjoy being serenaded by New School musicians.

• Create, innovate, and become inspired by fun interactive activities.

RSVP at newschool.edu/TheNewCEExpo.

Arts and Social Engagement

63

Sociology of Music Aleksandra Wagner A | 15 sessions | beg. Sept. 1 | Th 4–5:50 pm

64

Public Memory and Public Policy

ETHICS, POWER, AND JUSTICE

Elisabeth Jane Sevcenko, Jane McNamara

This area of study explores the question of

constructive civic engagement and human

whether just societies are possible and, if so,

well-being in general. 3 CREDITS

how we might work toward them. These

NPHI 2610 $700

reflect on the psychological structures that make critical thinking an essential aspect of

In the Introduction to the Sociology of Music,

A | 15 sessions | beg. Sept. 2 | F 2–3:50 pm

German philosopher and composer Theodor W.

This course invites students to build their own

Adorno defined his subject as “knowledge of the

public memory project to open up a public

relation between music and the socially

dialogue about a contested contemporary issue.

organized individuals who listen to it.” We start

We begin by examining theories of public

here while asking, Is it necessary to be musical

memory and its role in public policy, exploring

to appreciate music, or is the special giftedness

communal memory as a dynamic and con-

long assumed to be required a convenient social

tested set of understandings about the past that

myth? The course is devoted to three historical

deeply inform the way people perceive their

genres that nurture connections between sound,

world today and the decisions they make about

Ethics, Power, and Justice: Introduction

word, and the culturally driven and sited

the issues that concern them most. Drawing on

Aleksandra Wagner

spectacle: cantata/church; opera/opera house;

tion. But as we move through our daily lives,

theory and practice from a variety of fields, this

A | 15 sessions | beg. Aug. 30 | T 4–5:50 pm

“popular” music/alternative spaces. It inquires

our words and gestures continually construct,

course familiarizes students with the fields of

This course is designed to introduce students to

into the social roles of music stars—male and

negotiate, and contest our identities, social

public history, museum and curatorial studies,

a new area of the liberal arts curriculum: Ethics,

female—individual musicians, composers, and

worlds, and political conditions. This class

digital humanities, memory studies, and

Power, and Justice. The interlocking concepts of

conductors who have contributed to the

explores the powerful role played by communi-

transitional justice (truth and reconciliation

ethics, power, and justice are crucial to our

“abstractions” of chamber music, concerto, and

cation—and miscommunication—in the

commissions, reparation programs). Students

understanding of the world around us and to

symphony. It views music as a productive

formation of gender dynamics, class relations,

also learn about a range of approaches to public

the ways in which we might intervene in the

activity with an economic base that has helped

ethnoracial identities, cultural institutions, and

engagement, including dialogue facilitation,

social and political landscape. In this course,

both define national identities and nurture a

national boundaries. Students gain an under-

community-based curation, formative assess-

students become familiar with the lexicon of

fragile sense of unity in an increasingly

standing of the anthropological subfield of

ment, and collaborative partnership building.

ethics and consider some of the most complex

globalized world. You will be expected to listen

linguistic anthropology through ethnographic

In addition to developing their own projects,

social and political situations of the 20th and

to music and to read, think and write about it

readings and firsthand observation of linguistic

students also assess components of The New

21st century. The course is structured around a

while forging connections with our own Mannes

forms and language practices. Readings

School’s Humanities Action Lab’s (HAL) States

series of case studies, each of which focuses on

School of Music. Attendance at two live

examine the ideas about language and complex

of Incarceration project, a nationally traveling

one central issue in human rights. The case

performances—a rehearsal and a final concert—

dynamics and multiple layers of meaning in

exhibition and accompanying public interven-

studies will vary from year to year. The course

is part of the course. 3 CREDITS

everyday language use, from bodega chitchat

tions on the history, memory, and current crisis

opens with a theoretical section designed to

to dinnertime narratives to psychiatric

NSOC 2240 $700

of mass incarceration, and lay the foundation

familiarize students with the lexicon of ethics. In

interviews to drunken humor. 3 CREDITS

for HAL’s next major national/global initiative.

this section, students are introduced to the

3 CREDITS

fields of normative and applied ethics, studying

NANT 3300 $700

NPUB 3120 $700

the works of Kant, Hume, Bentham, Weber,

Music, Women, and Gender Sonya Mason A | 15 weeks | Aug. 29–Dec. 20 Rather than adding a list of long-forgotten matriarchs to our historical roster, modern feminist-based musicology has sought to understand the effects of gender and sexuality within a larger cultural and political framework.

It seeks not to provide new histories but to add to the understanding and appreciation of great

courses prepare students for a diverse range of careers in human rights, political activism, law, and government as well as graduate study in anthropology, sociology, philosophy, politics, human rights, international affairs, and law.

Dewey, Foucault, Carol Gilligan, and others.

Case studies are drawn from the diverse fields of sociology, anthropology, law, human rights,

A | 15 sessions | beg. Aug. 31 | W 4–5:50 pm We often think of language as simply a means of expressing ideas and exchanging informa-

More questions about a class?

Get in touch! ce@newschool.edu

the course is to enable students to recognize the complex social and political realities of the contemporary era and to consider ways in

Modern Social Theory

which we might create just societies in an

Berfu Aygenc Akman

interconnected world. 3 CREDITS

A | 15 sessions | beg. Aug. 31 | W 8–9:50 pm

NHUM 2100 $700

What holds societies together? When do they break down into conflict? What drives social change? Are there rules that govern human

important female musicians, from the spiritual

Critical Thinking

Hildegard von Bingen in the Middle Ages to the

Jeremy Butman

indomitable Cosima Wagner to current leading

A | 15 sessions | beg. Aug. 30 | T 8–9:50 pm

ladies such as Madonna and Björk. We examine

In this course, we study and apply the principles

the work of many of the scholars and critics

and methods that distinguish good reasoning

currently at the forefront of this field of inquiry.

from poor reasoning. Working with this tool kit

3 CREDITS

of techniques for evaluating arguments, we

NMUS 3591 $700

examine the logic that shapes contemporary debates about politics, media, art, and science.

To complement this practical exercise, we also

studies in culture And society

Rachel Heiman

urban studies, and political science. The aim of

music through context and the social codes of the language of music. This course traces

Linguistic Anthropology

interaction? This course examines some of the Big Ideas about society, how those ideas came about, and how we can use them to understand concrete social problems. In the first part of the course, we look at how the classical thinkers Adam Smith, Auguste Comte, and Herbert Spencer grappled with ideas about progress and social change. In the second part, we focus on efforts by four seminal writers—Karl Marx, Emile Durkheim, Max Weber, and Georg Simmel—to understand the development of capitalism and

Ethics, Power, and Justice

65

its implications for modern societies.

Empiricus to Nietzsche to Richard Rorty, in

Throughout the course, different theoretical

order to arrive at the contemporary debate

traditions are presented as tool kits with which

about human rights. Students analyze the

to examine historical and contemporary social

strengths and weaknesses of universalist and

issues. 3 CREDITS

relativist perspectives in attempting to answer

NSOC 3102 $700

the question: How can a coherent system of human rights be established in a world of diverse and sometimes contradictory social

Philosophy of Pain: Georges Bataille and the 20th Century

values? 3 CREDITS NPHI 3288 $700

trace his influence on contemporary thought and culture, exploring issues such as excess, ecstasy, eroticism, pain, death, violence, sacrifice, taboo, and transgression in his work.

We study the journals Bataille edited,

NPOL 3310 $700

daily basis. As the world becomes more and more fully integrated, communities become participants, are faced with the challenge of

Sustainable Peace and SDGs

grasping complex issues of international politics

Erin McCandless

global in scope and we, as both observers and

ground information to enable readers and

Institute for Retired Professionals Pioneer in peer learning for more than 50 years

viewers to comprehend and analyze factors underlying the latest crises or to imagine ways to address them. Students learn to engage in close examination of these issues and to discuss them in a constructive manner. After a unit on conducting foreign policy analysis, we

nity serving New York City since 1962,

broad categories: conflict, security, and

Bataille’s contemporaries, such as Masson,

The New School’s Institute for Retired

Leiris, Laure, Klossowski, and Blanchot, and

Professionals brings together lifelong learners with multidisciplinary back-

terrorism; globalization and the international economy; and international human rights and justice. The class attempts not only to understand these problems but also to develop

grounds and interests. There are no

solutions, which are then presented in a peer

Kristeva, Cixous, and Baudrillard. The course

prerequisites to participation, no exams

group setting. Through lectures and visual

includes films inspired by or based on Bataille’s

or grades when your study group is

presentations, students learn about important

works and ends with a discussion of his

done. All you need is a passion for

culture. 3 CREDITS NPHI 3748 $700

A | 3 sessions | S ept. 8 | Th 6–7:50 pm Sept. 15 | Th 6–7:50 pm

bulletins often do not provide enough back-

intellectual history. We compare the works of

influence on and relevance to contemporary

perspective of the struggles for alternative forms of globalization. 3 CREDITS

focus on major global issues, divided into three

of French thinkers: Barthes, Foucault, Derrida,

the debates about global justice from the

international issues that shape society on a

A vibrant intellectual and social commu-

We look at his reception by the next generation

and theories of globalization. We also look at

This course is an overview of contemporary

Documents and Critique, and their place in

examine his relationship with the Surrealists.

66

A | 15 weeks | Aug. 29–Dec. 20

been more important, but headlines and news

A | 15 weeks | Aug. 29–Dec. 20 writings of Georges Bataille (1897–1962) and

Glynn Torres-Spelliscy

and law. Understanding these issues has never

Yunus Tuncel We read from the philosophical and fictional

International Policy

learning and a desire to become part of a participatory circle of peers eager to impart and absorb the words and ideas

geographical and geostrategic factors contributing to the political crises to be examined.

3 CREDITS

NPOL 3222 $700

Sept. 23 | Sat 10 am–5 pm

In this course, we investigate how issues of peace, conflict, and fragility feature in the “Agenda 2030” Sustainable Development Goals (SDGs) framework and examine the pathways for implementing and measuring the progress of the agenda through the realization of related goals and targets. The course focuses on country contexts affected by conflict and fragility while addressing the wider links and applications of this universal framework.

Students gain an understanding of how peace and fragility issues are incorporated in the SDG framework, both through Goal 16 (Peaceful and Inclusive Societies, Access to Justice, and Accountable Institutions) and through other goals and targets throughout the framework (e.g., those around gender and participation, and inequality), as well as measures to counter international drivers of conflict and fragility.

They also learn about the technical, political, and contextual issues around how peace sustain-

of writers, artists, scientists, and thinkers

ability can be understood and assessed through

HUMAN RIGHTS: RELATIVISM VERSUS UNIVERSALISM

of all kinds.

Global Justice

Recent study groups have included:

Karsten Struhl

MDG and the New Deal implementation.

A | 15 sessions | beg. Sept. 1 | Th 6–7:50 pm

1 CREDIT

Luis Guzman

- Brain, Mind, and Consciousness

From Plato to John Rawls, classical political

NINT 5008 $450

A | 15 sessions | beg. Aug. 29 | M 6–7:50 pm Is there such a thing as an objective or universal

- Writers in Exile - American Radicals

theory regards arguments concerning justice as moral disagreements about the internal

- Gay History and Literature

organization of a nation- or city-state. In the

Western philosophy can be viewed as a

- The Harlem Renaissance

age of globalization, however, there is an

continuous search for a fixed point of view, for a

… and much more.

point of view? On one hand, the history of

perspective that reveals how things “really are.”

On the other hand, many serious thinkers have

Discover the benefits of membership

attempted to relativize any postulation of an

and apply today at newschool.edu/irp.

absolute perspective. This age-old controversy

tions and international financial and trade

moral criticism. After a brief introduction to the

imposition of a particular value system on a

studies in culture And society

actions of transnational agents like corpora-

rules are coming under increasing scrutiny and

Nations in 1948, and objections to the

the history of philosophy, from Sextus

that transcend its boundaries and that the

an emerging global institutional order whose

Human Rights, promulgated by the United

ments raised by ethical relativists throughout

within one national entity often have effects

conditions of people around the world. There is

conflict between the Universal Declaration of

pluralistic world. This course explores argu-

increasing recognition that decisions made

institutions significantly affect the living

is reflected in modern debates, such as the

eNewsletter sign-up: newschool.edu/TheNewCEInfo

this framework, drawing lessons from both the

classical problem of justice, this course focuses on contemporary interpretations of the concept of global justice. We examine the relationship of these interpretations to different assessments

UN Peace OPERATIONS in Post-Conflict Societies Erin McCandless A | 3 sessions | O ct. 13 | Th 6–7:50 pm Oct. 15 | Sat 10 am–5 pm Oct. 20 | Th 6–7:50 pm

United Nations peace operations have become an essential tool of the international community in its efforts to support sustainable peace in post-conflict societies—and, increasingly, to help reduce violence in situations of ongoing conflict. The proliferation of peace operations has coincided with increasingly complex and ambitious mandates and a far longer average life cycle of peace-keeping missions. As

Ethics, Power, and Justice

67

member states increasingly demand that UN peace operations become more efficient and effective, greater attention has focused on developing theories and tools for measuring whether countries are moving toward durable peace, how UN peace operations contribute to that process, and when it may become possible to withdraw UN post-conflict operations without risking a relapse into conflict. The nonlinear nature of conflict and peacebuilding as well as the highly dynamic and complex environments into which peace operations deploy, however, present formidable challenges to this endeavor, and UN peace operations continue to struggle to plan for and measure progress in a systematic manner. This course will allow students to understand key approaches being used for measuring and benchmarking progress in these complex conflict settings, the related political and methodological challenges of assessing progress toward transition from conflict to peace, and the primary efforts being made to overcome these challenges. 1 CREDIT NINT 5009 $450

Program Design, Monitoring, and evaluation for Peacebuilding Erin McCandless A | 3 sessions | Nov. 10 | Th 6–7:50 pm Nov. 12 | Sat 10 am–5 pm Nov. 17 | Th 6–7:50 pm

This course focuses on project and program design, monitoring, and evaluation methods to better ensure outcomes that contribute to peace. Peacebuilding DM&E can refer to peacebuilding-specific projects and programs or those in other sectors (e.g., security, rule of law, governance, social services) designed to be “conflict and peace sensitive.” This course is intended to ensure that students are familiar with leading methodologies designed for peacebuilding DM&E, can develop and employ conflict- and peace-sensitive analysis to shape project and program design. understand theories of change to contextualize and shape program design, and can develop M&E methods, including appropriate indicators that support these approaches. 1 CREDIT NINT 5010 $450

LITERATURE, CULTURE, AND DEMOCRACY

psychological introversion associated with

Introduction to Digital Humanities

English Midlands town called Middlemarch in

Instructor to be announced A | 15 sessions | beg. Aug. 29 | M 4–5:50 pm How do computers enable us to rethink, reform, and reorient every stage of the intellectual process? How might collaboration and other forms of digital creativity allow us to understand a book, an archive, a painting, a space, an idea, a film—or our own minds—differently? In this course, we use digital tools to help us re-conceptualize what the humanities can be.

Educating ourselves about the history, present, and future of computerized intellectual work, we address distinctions between digital “work” and

today’s fiction. This course is devoted to an examination of Eliot’s in-depth depiction of an the midst of social, political, religious, and economic transformations. We explore the variety of plots and the diverse ensemble cast in a novel that ranges from comedy to tragedy to romance to political and social commentary, with special emphasis on its two great souls, an idealistic medical man and an exceptional young woman of mind. We also examine the wise and compassionate voice of George Eliot herself as it emerges in the narrative and as she and her characters engage with the promise of modernity: that even if there will be losses as well as gains, it is possible to move forward to a better world. Reading: George Eliot, Middlemarch,

digital “play,” examine virtual humanness, and

Norton Critical Edition. 3 CREDITS

ask whether digital worlds alter intellectual

NLIT 2300 $700

categories like “art,” “culture,” and “society.”

Digital tools not only allow us to share our ideas and knowledge but also encourage creative expression that goes beyond any one discipline or mode of communication. In addition to writing, the course focuses on making time, space, ideas, narrative, and argumentation visible. Exercises emphasize collaboration, innovation, and design rather than the individu-

You want your degree. You’re busy.

We get it.

Bachelor’s Program for Adults and Transfer Students

alism, competition, and “knowledge banking”

Let us help you finish your bachelor’s degree—

that can be typical of scholarship in the

in New York City or online—with our flexible

analogue humanities world. Readings include

program designed specifically for adults and

selections from Anne Balsamo, Designing

transfer students. Our program gives you

Culture (2011); Anne Burdick et al., Digital

the freedom to create your own area of study

Humanities (2012); Stephen L. Carter, Civility

with the help of expert faculty advisors.

(1999); Cathy N. Davidson, Now You See It (2010); Lawrence Lessig, Free Culture (2004);

Learn more at newschool.edu/

Marshall Poe, A History of Communications

bachelorsprogram.

(2010); and Siva Vaidhyanathan, The Googlization of Everything (2011). This course prepares students to participate in courses and projects associated with the Humanities Action Lab. 3 CREDITS

NHUM 2001 $700

Shakespeare Herbert Sussman A | 15 sessions | beg. Aug. 29 | M 4–5:50 pm In this course, we consider the greatness of Shakespeare’s achievement. We read represen-

Middlemarch Margaret Birns A | 15 weeks | Aug. 29–Dec. 20 Having passed the test of time, Middlemarch is not simply a 19th-century novel but a novel for the ages. A masterpiece that has been described as a treasure house of detail, one of the few English novels written for grown-up people, and the greatest novel in the English language, Middlemarch is also a novel that both exemplifies Victorian realism and anticipates the

studies in culture And society

tative plays including the tragedies Othello and Macbeth, the comedy Much Ado about Nothing, and the history play Henry IV, Part 1. We also take up plays that stretch the limits of genre: The Merchant of Venice, A Midsummer Night’s Dream, and The Tempest, and look closely at selected sonnets. We employ such approaches as New Historicist, psychoanalytic, and feminist criticism. And since plays truly exist only in performance, we watch videos of Shakespeare productions in class. Course requirements

Literature, Culture, and Democracy

69

include one brief critical statement on each play

made possible by Islamic inventions. We

and on the sonnets and a take-home final.

consider the effects of this revolution on traders,

3 CREDITS

trade routes, international competition, cultural

NLIT 2240 $700

collaborations, and stereotypes of masters and

Noelle Carruggi

GENDER AND SEXUALITY STUDIES

in its treatment of human passions, as Albert

The Sexual Revolution: A History of Love in Public

Camus proclaimed. In this course, we study

Claire Potter

masterpieces illustrating various aspects of love

A | 15 weeks | Aug. 29–Dec. 20

and literary expression through the centuries.

Why did public sexuality, sexual subcultures,

Passionate love, whether platonic or overtly

and previously unconventional sexual arrange-

sexual, is an enduring theme in French litera-

ments flourish in the United States after World

ture, from the 17th-century novel The Princess

War II? What did it mean to move sexual

of Clèves to Duras’ The Lover and Ernaux’s

expression into the public sphere? How did

Simple Passion. We begin with classic works by

Americans come to act on their desires for

the 17th-century tragedians Corneille (El Cid)

sexual autonomy, and what implications did

and Racine (Phaedra). We then read texts from a

that have for religion, politics, and domestic

variety of literary genres: the psychological

life? Did a “sexual revolution” liberate all

novel, the epistolary novel, the realistic novel,

Americans equally, regardless of class, race, or

of Hildegard of Bingen and others; and the

satire, autofiction, and the autobiographical

gender? After a brief survey of the emergence of

15th-century “confession” of Christine de Pizan,

journal. In all passion, there is an element of

modern sexuality, this class focuses on

revolt against convention, and the protagonists

ideological shifts in North American sexualities

we encounter in our journey through the human

that changed not just habits and taboos but

soul and psyche take a stand against the mores

laws. We examine the emergence of expert

of their era. 3 CREDITS

knowledge about sex and of media that

NLIT 3424 $700

popularized scientific theories and look at the

slaves. We make use of cutting-edge multimedia resources in combination with alterna-

Female Biography Gina Walker A | 15 sessions | beg. Aug. 30 | T 4–5:50 pm In this course, we examine women’s biographies and autobiographies, from the ancients to the present, to consider how female lives are written, by whom, and for what purposes. We draw on feminist interpretations of Plato’s brief portrait of his teacher Diotima in the Symposium; accounts of women by Ovid and Plutarch; the prison diary of an early Christian martyr, Vibia Perpetua; medieval hagiographies

in which she imagines a subversive “City of Ladies.” We then turn to the barely veiled autobiographical writings of early modern women like the poet Anne Askew, burned as a heretic in 1546; the 17th-century author and scientist Margaret Cavendish; and the political theorist Mary Wollstonecraft, best known for her Vindication of the Rights of Woman (1792).

In Mary Hays’ groundbreaking Female Biography (1803), we see how women’s 70

Love in French Literature

reputations have been determined, in part, by their compliance with or resistance to sexual norms. In Victorian texts, we observe efforts to codify gender behavior through biography. We conclude with modern and contemporary biographies by and about women that reveal the continuing struggle to identify the distinctive qualities of the “female biography.”

3 CREDITS

NLIT 3233 $700

tive narratives to explore the new field of “continental history” expressed in period maps, accurate and imaginary, that helped motivate Britain, France, Spain, Russia, and Holland to identify, penetrate, claim, and occupy territories to build their empires. Finally, we consider how the spread and manipulation of information and disinformation by empire builders for their own purposes encouraged the religious and philosophical dissent that erupted in Enlightenment revolutions. 3 CREDITS NHIS 3313 $700

Daniel Defoe to Mary Shelley: Prose, Poetry, and Politics in the Long 18th Century Fiore Sireci

A | 15 weeks | Aug. 29–Dec. 20 The greatness of French classical literature lies

A | 15 sessions | beg. Aug. 31 | W 6–7:50 pm This course covers British literature of the long

ways other human rights movements (feminism, civil rights, gay liberation) put pressure on

18th century, beginning with Moll Flanders and

The Irish Renaissance

ending with Frankenstein. We examine a series

Anne Margaret Daniel

of powerful and engaging texts, both from the

A | 15 weeks | Aug. 29–Dec. 20

traditional canon and from writers at the margins.

This course examines the extraordinary

We approach these texts as products of evolving

achievements of Irish writers in the last decade

aesthetic categories and as windows into the

of the 19th century and the first third of the

debates over commerce, colonialism, gender,

20th century. Students read in all the genres

and social class. Readings include Alexander

(poetry, short story, novel, drama) that were

Pope’s Essay on Criticism, Tobias Smollett’s

remade by Irish writers during the tumultuous

Humphrey Clinker, Charlotte Lennox’s The

period from the fall of Charles Stewart Parnell

Female Quixote, the “laboring” poets, Samuel

through the Easter Rising in 1916 and into the

Johnson’s sermons and poetry, the poems of

early years of the Irish republic in the 1930s.

Charlotte Smith, and Mary Wollstonecraft’s A

Authors studied include Oscar Wilde, James

Vindication of the Rights of Woman. 3 CREDITS

Joyce, William Butler Yeats, George Bernard

NLIT 3295 $700

Shaw, Lady Augusta Gregory, John Synge, Sean

the state and on religious institutions that sought to uphold heteronormative citizenship and control unruly bodies. We also look at the ways Americans drew on, fantasized about, colonized, and sought to emulate global sexual cultures. Each class session is organized around a set of primary sources, films, and images and secondary texts that help students understand the contests over sexuality that have articulated, defined, and sometimes constrained notions of sexual freedom. 3 CREDITS NHUM 3070 $700

Study of the literature itself is balanced by

Hangin’ on the Telephone: Women and Communications

Gina Walker

consideration of the social and historical

Emily Bills

A | 15 sessions | beg. Sept. 1 | Th 4–5:50 pm

contexts of Ireland under the Union with Britain

A | 15 weeks | Aug. 29–Dec. 20

This course is about the dynamic coming

and after the Union was partially broken.

Almost as soon as telephones were invented,

together of global exploration, cultural

Refining the lens through which to view this

the daily work of creating connections between

encounters, and the rise of the right to dissent

literature requires addressing such topics as

people became women’s work. Over time,

in the early modern period. We begin by

Irish cultural nationalism, the horror of civil war

women became critical to certain kinds of

examining traditional accounts of the global

and the obstacles to national reconciliation, and

employment in the communications industry,

flow of information and fantasy through maps

the clashes between revolutionary anti-imperi-

serving as operators and working in electronics

and other texts that fueled adventures and

alism and conservative Catholicism, between

factories while they were barred from higher-

rural and urban identities, and between

paid “men’s work,” such as executive positions

provincialism and cosmopolitanism as

and working on the line. In this course, students

strategies for literary self-fashioning. 3 CREDITS

investigate the relevance of gender, race, class,

Mapping, Discovery, Empire

ambitions, especially the revolution in cartography in the 15th century away from symbolic Christian cosmology to mathematical mapping

O’Casey, Elizabeth Bowen, and Flann O’Brien.

#TheNewCE #LearnGrowRepeat

NLIT 3275 $700

studies in culture And society

Gender and Sexuality Studies

71

and sexuality to the emergence and develop-

and comparative perspectives that allow

ment of new technologies. We consider a wide

students to examine questions of racial and

range of questions, including: What role have women played in the development of technol-

ender and sexuality g studies certificate

ogy? How has technological change affected the roles of women and ideas of gender? How does technology offer possibilities for changing social relations, and how should we evaluate these possibilities? 3 CREDITS NHIS 3430 $700

assignments are self-designed, allowing students to pursue research related to their

Whether you’re exploring graduate school

interests. 3 CREDITS

opportunities or furthering your career, the

NHUM 3204 $700

GSS Certificate offers a path to advancement. Students who earn the certificate go on to careers in academia, the arts, design, fashion, public policy, government, NGOs,

Marisa Solomon A | 15 sessions | beg. Aug. 31 | W 4–5:50 pm Trash is a peculiar thing: Although common sense tells us it is easy to define, the term trash is ambiguous. Its ambiguity depends on the

Race and Biology

social contexts in which trash is located and conditions under which it is produced and

Jennifer Scott

managed. As the popular adage “One man’s

A | 15 weeks | Aug. 29–Dec. 20

trash is another man’s treasure” suggests, trash

What do we learn about ourselves through

as an object is contingent upon who is defining

genetics and genealogy? How does DNA

it; when, where, and how it’s being defined; and

Looking: Disability and Representation

nonprofit management, and clinical

Paula Stuttman

The program prepares its students to

connect with what we know about our identi-

what kinds of claims trash makes possible or

A | 15 sessions | beg. Aug. 29 | M 4–5:50 pm

recognize and respond to gender-based

ties, family ancestry, and cultural heritage?

obscures. However, trash is also an ideological

How do we define disability? How do we

questions such as: What is gender? How is

This course explores the intersection between

category used to describe people, places, and

represent disability? This class explores

sexuality culturally constructed? How do

biology, culture, and history. In particular, we

talk. How might the material and discursive

examine the evolution of scientific and social

co-construct one another? What worlds does

classifications of race and human difference.

trash make possible, and what is made possible

Students learn how certain racial distinctions—

through the production of trash? This course

such as Caucasoid, Mongoloid, Negroid,

focuses on the complex nature of trash as both

representations of disability through an interdisciplinary platform that includes the visual arts, theater, film, literature, popular culture, and the law. Works under discussion

psychology or pursue advanced study.

attitudes toward gender affect individual experience, artifact design, artistic production, and modes of social organization?

include The Naked Kiss, a 1964 film in which a

Learn more and get started at

mulatto, quadroon, octoroon, and creole—

material and discursive, inquiring into the

former prostitute starts a new life that includes

newschool.edu/gsscertificate.

emerged historically. They critically examine

racialized, gendered, and classed conditions in

nursing (and singing to) disabled children in the

the ways in which we dissect and quantify

which trash is produced and managed.

local hospital; choreographer Jérôme Bel’s

lineage—why we speak about our backgrounds,

Throughout the course, we think about how

Disabled Theatre (2012), a collaboration with

bloodlines, and ethnic, racial, and national

assumptions about trash underlie symbolic

makeup in terms of percentages, fractions, or

social orders that demarcate clean from dirty

company made up of actors with disabilities;

RACE AND ETHNICITY STUDIES

other measurements; why we use cultural tools

and hygienic from unhygienic, as well as the

and Marc Quinn’s white marble sculptures

Students who pursue this area of study not

such as the census to “count heritage”; why we

material systems or infrastructure used to

(1999–2008) that portray individuals with

only examine the representations and histories

operated by the “one-drop rule.” Using anthro-

manage it. As anthropologist Mary Douglass

physical disabilities. Questions to consider

of human difference but also think through the

pological, sociological, historical, biological, and

argued, “Dirt is matter out of place.” This class

include: How have representations of disability

ways in which identity establishes itself as a

literary works, we also explore the “social

considers how the “place” of dirtiness and/or

changed over time? How do they affect our

logical framework for understanding the self

narratives” or “social life” of DNA, the various

trashiness works to stabilize categories of

understanding of disability? What stereotypes

and others.

ways in which genetics is used culturally and

matter and space and asks: What, then, are the

racially: as evidence to make legal claims or

political implications of the way the manage-

seek social justice; to anticipate wellness or

ment of trash arranges and rearranges

disease; to determine social membership,

ideologies of space, bodies, and the environ-

“pedigree,” or “purity”; or to re-construct

ment? 3 CREDITS

identities. We analyze the recent expansion,

NCST 3315 $700

Zurich’s Theater Hora, a professional theater

72

ethnic identity across ethnicities. Some

The Politics of Trash: Race, Place, and the Environment

exist? Students are introduced to the disability rights movement and disability rights laws in the United States. The final assignment is a collaborative curatorial project examining the concept of disability. This class is a seminar.

Participation is required. 3 CREDITS NARH 3720 $700

COMPARATIVE ETHNICITIES IN THE AMERICAS Raúl Rubio A | 15 sessions | beg. Aug. 30 | T 4–5:50 pm This course introduces students to the academic field of ethnic studies and the interdisciplinary questions that field poses for their work in other fields as well. Race and ethnicity, as lived realities and social constructions, are critical to the intersectional nature of social identities, communities, and national mythologies. Racial and ethnic identities also cannot be fully understood except in relation to each other. The class examines issues of power and privilege;

Find all course listings and register at newschool.edu/ce/classes or by calling 212.229.5620.

studies in culture And society

commercialization, and popularization of genetic analysis, most prominently exhibited in the increase in public DNA testing and in widely watched television programs such as the American documentary series Who Do You Think You Are? Examining these trends, students investigate the ways in which genetics is used to constitute family history, construct individual and group identities, and create community.

3 CREDITS

NANT 3213 $700

connections between race, class, gender, and sexuality; immigration and imperialism; media representations of race and ethnicity; and popular culture by employing interdisciplinary

RACE AND ETHNICITY STUDIES

73

PSYCHOLOGY

personality assessment from a variety of

Fundamentals of Psychology

personality disorders, their diagnosis, and their

The Black Aesthetic: African-American Arts and Culture

Narratives of Black Women

Thea Hunter

A | 15 sessions | beg. Sept. 1 | Th 6–7:50 pm

A | 15 sessions | beg. Aug. 29 | M 4–5:50 pm

Studying the period from slavery to the Harlem

Catherine Mindolovich

From the 17th century to the present day,

Renaissance, we explore the history of Black

A | 15 sessions | beg. Aug. 31 | W 6–7:50 pm

supporting each perspective. 3 CREDITS

African-American art and material culture have

women in the United States through their

As a subject of intellectual inquiry, psychology

NPSY 2401 $700

been critical to forging a uniquely “American”

narratives. We consider the contexts for these

spans the histories of many cultures, but since

artistic tradition. This course focuses on the

works: the historical realities and subsequent

antiquity, psychological interpretation has revolved

evolution of an imaginative cultural history that

symbolic use of Africa and the significance of

around recurring themes. When philosophers,

Abnormal Psychology

first emerged in West and Central Africa, was

work, health, community, and sexuality. To

naturalists, and other scholars began to divide

Instructor to be announced

transported to the Americas, and developed

experience the complexities and richness of

into separate academic departments in the 19th

A | 15 weeks | Aug. 29–Dec. 20

within the folk, fine art, and material culture

women’s narratives, we read a variety of texts—

century, psychology, with much fanfare, sought

Using a multitheoretical model of psychopa-

genres. Over the centuries, the Black aesthetic

chronicles, fictions, visual representations—that

recognition as a separate discipline. Its goals

thology, students explore basic contemporary

has evolved in, and responded to, an American

illuminate differing perspectives of the past. Our

were, and are, the explanation of memory,

and historical conceptions of abnormal

experience of slavery, freedom, migration,

aim is to arrive at a deeper understanding of the

emotion, perception, consciousness, learning,

behavior. They are introduced to the current

cultural exchange, and resistance. Through art,

roots of Black women’s experience in the 19th

motivation, personality, development, and

classification system of mental disorders, the

African-Americans have spoken to their own

and early 20th centuries. 3 CREDITS

social influence. These fundamentals of the field

Diagnostic and Statistical Manual (DSM-IV-TR),

histories and to an aesthetic present that

NLIT 3898 $700

are the topics of this course. 3 CREDITS

and consider its strengths and weaknesses in an

NPSY 2001 $700

increasingly complex field. Psychodynamic,

marginalizes and exoticizes the cultural heritage

Tracyann Williams

approaches. In addition, the course explores treatment. This course emphasizes not only primary source material but also the research

of people other than Europeans and resists the

cognitive, humanistic, and sociocultural

notion of African-American fine art. Central

approaches to major Axis I and Axis II disorders

themes are folk culture, furnishing and craftwork, sculpture, drawing, and painting as discrete and interrelated categories. In addition to readings, the course makes use of fine art and material culture collections available in New York City.

3 CREDITS

NARH 3740 $700

Introduction to Social Psychology Alison Martingano A | 15 sessions | beg. Sept. 1 | Th 6–7:50 pm What role does social influence play in our lives?

How do we form stereotypes? A series of lectures and films introduce the perspectives and research methods of social psychology.

74

The class also learns to analyze social situations

are presented. The class employs critical thinking to examine current controversies over classification, assessment, and treatment of mental illness. This course was formerly listed as NPSY 3501. Do not take this course if you have previously taken NPSY 3501; it is the same course and cannot be taken twice for credit.

3 CREDITS

75

NPSY 2501 $700

and events encountered in everyday life. Topics discussed include social cognition; self-perception and persuasion; stereotypes, prejudice, and

Introduction to Neuropsychology

discrimination; intergroup conflict, obedience,

Anna Odom

and conformity; aggression and altruism; and

A | 15 weeks | Aug. 29–Dec. 20

human relationships and attraction. The class

The brain’s function has been an enigma

closes by considering how we participate in the

thvroughout history, but in the last decade,

construction of social realities. This course was

great strides have been made in this area of

formerly listed as NPSY 3301. Do not take this

research. In this course, we employ the

course if you have previously taken NPSY 3301;

psychological perspective of neuroanatomy and

it is the same course and cannot be taken twice

neurophysiology to develop an understanding of

for credit. 3 CREDITS

how the brain produces thought and behavior.

NPSY 2301 $700

We look at the way neural activity produces our

and self-esteem; perceptions of others, attitudes,

perception of the world, our behavior, our cognition and memory, and our emotional life.

Theories of Personality Jacob Nyman A | 15 sessions | beg. Aug. 29 | M 6–7:50 pm This course discusses how personality can be

We also explore how psychoactive drugs affect these processes and how neural activity produces conscious awareness and plays a role in mental illness and substance abuse. 3 CREDITS NPSY 3140 $700

understood through a variety of theoretical perspectives, including psychoanalytic, trait-based, biological, behavioral, cognitive, and humanistic approaches. We also examine

studies in culture And society

More questions about a class?

Get in touch! ce@newschool.edu

Psychology

Cultural Psychology Harm Reduction Psychotherapy Certificate

A | 15 weeks | Aug. 29–Dec. 20

Introduction to Social Work and Counseling

For years, psychological research was shaped

Michele Frank

Ilaina Goldwert

by a belief in universality that effectively ignored the impact of culture. Recently culture has

What’s the difference between a licensed clinical

This professional certificate program offers

received more serious consideration in psycho-

social worker, a marriage and family therapist, a

licensed and license-eligible mental health

logical theory. Psychologists have begun to

licensed professional counselor, and a clinical

and substance abuse students and practi-

examine cultural influences on moral develop-

psychologist? What drives individuals to devote

ment, cognition, and memory and to reconsider

their lives to helping other people? What are the

basic tenets of the scientific method, including

education and licensing requirements for each

the generalization of research findings. New

professional role? What values inform the

York City’s multicultural landscape provides a

ethical decision-making process? This course

rich field for investigating fundamental theories

introduces students to options for entering the

tioners specialized training in the theory and application of harm reduction psychotherapy. Certificate participants will gain knowledge and practical skills to enhance their credentials and further their careers

from the private practice office to mental health agencies specializing in child welfare, health care, substance abuse treatment, gerontology, employee assistance, and corrections. Recognizing the challenges for building a clinical practice in today’s complex managed-care marketplace, this course also helps students chart their career road maps from graduate school to professional practice. Class highlights include experiential assignments and guest lecturers who work with diverse client populations. 3 CREDITS NPSY 3850 $700

of social, cultural, and developmental psychol-

in this field.

ever-evolving fields of social work and counsel-

ogy employing this refreshing new perspective.

ing. Focusing on the essentials of therapeutic

Offered in the Department of Psychology

This course is an opportunity to see and

practice with individuals, families, couples, and

Environmental Psychology

experience this city of immigrants through

groups, we define and discuss the interpersonal

a psychological lens. 3 CREDITS

Deshonay Dozier

skills needed for working with a full range of

A | 15 sessions | beg. Aug. 30 | T 6–7:50 pm

NPSY 3347 $700

cases, from the high-functioning private practice

This course serves as an introduction to

client to the crisis-oriented disturbed patient.

environmental psychology, a subdiscipline of

We discuss the way insight-oriented and

applied psychology that studies the relationship

action-oriented approaches for clinical interven-

between people and their environment. We

tion differ, as well as the incorporation of the

examine different kinds of environments—

DSM-5 for use in clinical work. We explore the

physical (built, man-made), natural, social,

at The New School for Social Research, this program is recognized by the New York State Education Department’s State Board for Social Work as an approved provider of continuing education for licensed social workers #0199. Participants can receive up to 48 continuing education hours.

Psychology of Creativity Patricia Simko

Learn more and get started at

A | 15 sessions | beg. Sept. 1 | Th 10–11:50 am

newschool.edu/harmreduction.

Creativity is both a central goal and a vexing

a work-in-progress that is never completed. In

Tuesday, August 2, 2016, 6:30–8:30 pm

this course, we examine the psychological

University Center, 63 Fifth Avenue, NYC

best possible image of ourselves. A person’s

Warren Spielberg A | 15 sessions | beg. Aug. 31 | W 4–5:50 pm One of the most interesting and exciting ages in human development is the adventure of adolescence, which today is widely regarded as a period of life marked by narcissistic grandiosity, moodiness, confusion, and passion. This approximately ten-year period is full of both expectations and tribulations. Adolescents are often unclear communicators, with a propensity to prefer action to words. This course addresses the main developmental issues of adolescence from both the psychological and the sociological perspectives. We examine some of the psychosocial issues that arise during this stage, such as depression, substance abuse, academic difficulties, and eating disorders. Case material is presented in combination with a discussion of theory and therapeutic techniques used to treat adolescents. 3 CREDITS NPSY 3220 $700

from shaping people’s feelings, thoughts,

most challenging creation is his or her own self,

inner thoughts as we strive to put forward the

Psychology of Adolescence

learned, informational—and their impact,

#LearnGrowRepeat Continuing Education Expo & Open House

challenge for most of us. We struggle with our

76

A | 15 sessions | beg. Sept. 1 | Th 8–9:50 pm

range of work settings for clinical counseling,

literature on creativity, including classic and psychoanalytic theories of creativity, and engage in exercises that help us move beyond our own limitations to become our best selves.

The course involves reading, exercises, and life experiments that lead to both a cognitive and an experiential understanding of the creative nature of the self. 3 CREDITS NPSY 3839 $700

Ready to go back to school on your own terms? Fill in the blanks to your next learning journey and #LearnGrowRepeat this fall with continuing education courses and certificates at The New School. Start by joining us for free pop-up classes in writing, media, and art; live music performances; one-on-one advising; and more!

Looking for more goodies? You’ll have a chance to win prizes with raffles and

their health, well-being, and productivity.

Investigations include how we find our way in complex environments; definitions of personal space, territoriality, and crowding; the effects of workplace and residential design on behavior; and characteristics of stressful environments (noise, pollution, climatic extremes) and restorative, supportive environments. We look at the influence of environmental psychology on urban and city planners, interior designers, architects, landscape architects, engineers, and recreation and health professionals. 3 CREDITS NPSY 3872 $700

CREATIVE ARTS AND HEALING

education program directors and faculty.

DRAMA THERAPY AND GROUP PROCESS

• Get one-on-one advising and sign

Barbara McKechnie

giveaways and meet with continuing

up for courses on-site. Sample CE

A | 15 sessions | beg. Sept. 1 | Th 6–8:40 pm

courses through pop-up classes.

Drama therapy is an eclectic form of creative

• Enjoy being serenaded by New School musicians.

• Create, innovate, and become inspired by fun interactive activities.

RSVP at newschool.edu/TheNewCEExpo.

studies in culture And society

and behaviors to, in the long term, affecting

arts therapy, in which role-playing, improvisation, psychodrama, storytelling, masks, puppets, and performance are used to promote growth, transformation, and healing. This course is an opportunity to explore oneself in relation to others through the medium of drama. Drama

Creative Arts and Healing

77

therapy techniques are practiced in class both

drama therapy. Students journey through a

for the personal growth of students and to

developmental process of self-discovery, using

demonstrate the philosophies and methods

the arts to explore relationships to self and

of clinical and theater theorists. The course

other. Creative movement, psychodrama, art

combines experiential and didactic activities.

making, and improvisation help students

Readings, journal writing, and active participa-

externalize their “inner music” and connect with

tion in class are required. 3 CREDITS

their “essential pulse.” Readings from the

CCAH 3413 $800

creative arts and psychoanalytic literature

Introduction to Food Studies

Culinary Luminaries Andrew Smith A | 15 weeks | Aug. 29–Dec. 20 This course is devoted to the life and work of

Beatrice Banu

distinguished culinary professionals of the

A | 15 weeks | Aug. 29–Dec. 20

recent past and the present who have changed

In this course, we explore the connections

the way we eat and drink. We examine the lives

between food, culture, and society, looking at

and legacies of food culture luminaries such as

the role of food in the construction of personal

James Beard, Julia Child, Craig Claiborne, M.F.K.

and collective identity in terms of body, race and

Fisher, and Robert Mondavi. Their impact on

ethnicity, class, gender, nationality, and social

American cuisine and the culinary arts at the

movements. We also examine cultural aspects

global level are explored through audiovisual

of food politics, paying particular attention to

material, readings, and discussion. The course is

Fieldwork in a variety of settings is offered to

the United States but also considering global-

based on the ongoing Culinary Luminaries series

certificate students who have completed the

ization and international flows of people, goods,

of public programs at The New School. 3 CREDITS

two required psychology and four concentration

ideas, and technologies. The course introduces analytical approaches and methods that are

NFDS 2110 $700

courses. Students must commit to seven hours per week per semester (15 weeks) to complete

widely used in the growing research field of food

their fieldwork. On-site supervision is provided.

studies. This course counts toward the Gender

A concurrent seminar at The New School

Studies minor. 3 CREDITS

focuses on clinical issues particular to specific

NFDS 2050 $700

relevant to the use of multimodal arts therapy with a number of clinical populations are

FIELDWORK Kate McIntosh A | 15 sessions | beg. Aug. 31 | W 8–9:50 pm

populations. Permission of the Creative Arts Therapy coordinator is required. 3 CREDITS CCAH 3900 $800

INTRODUCTION TO MUSIC THERAPY Christoph Grieder 78

FOOD STUDIES

A | 15 sessions | beg. Aug. 31 | W 6–7:50 pm The practice of music therapy is gaining

assigned. Students are required to keep a journal to frame the process. 3 CREDITS COPA 3010 $800

Institute for Retired Professionals Pioneer in peer learning for more than 50 years A vibrant intellectual and social community serving New York City since 1962, The New School’s Institute for Retired

FOOD PRODUCTS BUSINESS: STRATEGIC PLANNING WORKSHOP Terry Frishman

Introduction to Food Design Pedro Reissig

A | 2 sessions | Sept. 10–17 | 10 am–3:30 pm Do you dream of being a successful food entrepreneur? Do you wonder how others do it?

This inspiring, fast-paced workshop covers

A | 15 weeks | Aug. 29–Dec. 20

crucial preliminary steps, from a business and

This course is aimed at inspiring students to get

communications point of view, involved in

interested and involved in the rapidly growing

developing a food products business. Learn how

field of food design. Taken separately, food and

to ideate and develop a food products business

design are highly relevant subjects onto them-

concept that draws on your strengths, market

prominence in medicine, rehabilitation, and

Professionals brings together lifelong

selves: Food is one of our most basic needs;

opportunities, and relevant trends and how to

psychology. Broadly defined, music therapy

learners with multidisciplinary back-

design is one of today’s most valued platforms

clearly present concept highlights in a one-minute

is the use of music within the therapeutic

grounds and interests. There are no

for innovation and problem solving. Taken

elevator pitch. There is one mandatory synchro-

relationship to facilitate healing of the body,

prerequisites to participation, no exams

together: relevance and passion! Food design is

nous online session using easily accessible

an emerging transdisciplinary field concerned

software, ZOOM, in which a guest speaker

with the variety of ways in which our relation-

shares a successful entrepreneurial story on

ship to food can be improved. These can involve

September 14, 12:30–2 pm. By the end of the

mind, and spirit. This two-semester course includes an overview of music therapy as practiced in this country and abroad, a review

or grades when your study group is done. All you need is a passion for

of theoretical concepts of music therapy with

learning and a desire to become part of

the design of the edible product itself, its context,

course, students should have a well-developed

reference to different patient populations, and

a participatory circle of peers eager to

process, and practices. This course is meant to

early-stage food products business concept.

acquaint students with the impact design can

1 CREDIT

information about further training in the field.

There is also an experiential component, in which students apply clinically tested music therapy techniques such as guided imagery

impart and absorb the words and ideas of writers, artists, scientists, and thinkers of all kinds.

have in concrete everyday situations related to food. Students work on projects related to their personal lives and environment, engaging in a

and music, group music therapy, and clinical

Recent study groups have included:

learning experience in which they test results

improvisation. 3 CREDITS

- Writers in Exile

through firsthand experience. 3 CREDITS

CCAH 2200 $800

- Brain, Mind, and Consciousness

NFDS 2080 $700

RHYTHM AND ROLE: UNMASKING THE ESSENTIAL SELF Bonnie Hirschhorn A | 5 sessions | beg. Oct. 8 | Sat 10 am–5 pm This multimodal course integrates concepts and practices from art, music, movement, and

studies in culture And society

NFDS 2350 $300

- American Radicals

FOOD PRODUCT BUSINESS: PLANNING, MARKETING, AND PRODUCTION

- Gay History and Literature

Robin Puskas

- The Harlem Renaissance

A | 10 sessions | beg. Sept. 20 | T 4–5:50 pm

… and much more.

You’ve perfected your food product concept:

Discover the benefits of membership

course, we walk through the step-by-step

and apply today at newschool.edu/irp.

great recipe, great design. Now what? In this process of moving your idea from concept to product. From finding a production kitchen to building a marketing plan to getting your

Food Studies

79

product on shelves, we use business cases and guest speakers’ insights to hone your plan for your food business. Successful food entrepreneurs share their stories on the common pitfalls for young businesses and the sometimes unexpected keys to success. At the end of the course, you will have a clear roadmap for getting your product on shelves and be prepared to have the orders roll in. Students must already have a food product concept in mind. 2 CREDITS NFDS 2351 $500

Have a short story, poem, or essay about food that you want to share with the world?

Look no further than The New School’s very own online food journal, The

The Language of Food A | 5 sessions | beg. Sept. 15 | Th 6–7:50 pm

Making Sausage: Policy for Food Systems, Environment, and Design

Food has become a universal language, but how

Thomas Forster

Rozanne Gold

can words be used to make us hunger? How do

A | 15 sessions | beg. Aug. 31 | W 10–11:50 am

recipe creators, cookbook authors, and chefs use

Food and environmental activists and designers

their media as vehicles for self-expression?

can have a positive impact on the lives of people

Students delve into the creative process,

and places. But to have lasting effects on larger

examining a variety of literary and marketing

systems that define cities and regions, countries

techniques and learning about the narrative of

and global communities, policy is key. The

menu development, or what professionals call

agreed norms, rules, and regulations that make

the mind of the menu. This course demonstrates

up the policy landscape are created and

how tastes, sensations, and psychology are

reauthorized according to a common policy

made concrete in menus, recipes, and commer-

cycle at the city, state, national, and interna-

cial prose. How do design, graphics, and

tional levels. By understanding the policy cycle

nonverbal imagery contribute to a menu’s

and how it is shaped, activists and designers,

success? Award-winning chef, author, and

citizens and professionals can all contribute to

international restaurant consultant Rozanne

resolving the more complex challenges of our

Gold invites boldface names to guide the class

Inquisitive Eater. Whether you write think

time. This course introduces students to the

through contemporary and historical tactics

pieces on food politics or poetry about

policy dimension of sustainable design,

used in the industry and demonstrate how the

planning, and development with concrete

lobsters, visit inquisitiveeater.com for

consumer experience can be manipulated

examples from New York City, national policy,

more information on submissions and

through descriptive language. 1 CREDIT

and the new global 2030 Sustainable

publishing.

NFDS 2611 $300

Development Agenda. Applying research on actual policy processes, students put into practice what they learn in the classroom in

80

From Nuggets to Nourishment: Kids and Food

Food and the Human Body

individual and team projects that may be local,

Ronita Ghatak

NFDS 3201 $700

national, or international in scope. 3 CREDITS

A | 15 sessions | beg. Sept. 1 | Th 4–5:50 pm How does food connect with health and wellness? Is food just fuel for the human body?

Karin Endy

In this course, students explore the aspects of

A | 5 sessions | beg. Oct. 20 | Th 6–7:50 pm

human physiology connected to food and the

The top sources of calories for American children

basic concepts of nutrition, as well as the way

today are pizza, soda, and sweets. Eighty-five

different dietary models can affect digestion,

percent don’t get the recommended quantities

energy, and fitness. Students learn to apply

of fruits and vegetables on a daily basis.

scientific approaches to develop a better

Unsurprisingly, rates of childhood obesity and

understanding of food preparation, diet analysis,

diabetes are rising precipitously, with low-income

and recipe modification. The class also examines

children and children of color particularly affected.

issues related to allergies and other food-related

This course explores why our kids are eating so

illnesses while acquiring the tools needed to

poorly and what we can—and must—do about

interpret and evaluate nutritional information

it. The class looks at the complex web of factors

from packaging labels and other sources,

that shape children’s food choices, from the way

including integrators and functional foods.

tastes develop in the womb to the content of

Students reflect on how scientific information

school meals to the impact of U.S. farm policy

regarding food and nutrition is diffused to the

on food prices and family meals. Students learn

public through sources as diverse as govern-

about exciting new programs and policies being

ment institutions, nongovernmental

implemented in many schools and communities

organizations, media, and the Internet.

in New York City and across the country.

3 CREDITS

1 CREDIT

NFDS 2701 $700

trade, ethical consumption, and sustainability are slowly starting to enter into the larger dialogue about food in the realm of contemporary media outlets. In this course, we begin by examining the role food plays in communication from semiotic and cultural points of view: food as the strategic focus for social, political, and environmental debates; food as culture; and food as the inspiration for art and media projects designed to address these issues.

Students explore and discuss different kinds of food and food advocacy content generators while reflecting on how to create effective forms of communication for food-related activism.

3 CREDITS

NFDS 3300 $700

Feasting Your Eyes: Food and Film Ashna Ali A | 15 sessions | beg. Aug. 31 | W 4–5:50 pm Why is food so common in movies? Why have food movies become so popular in the past few decades? This course examines how food, its production, its consumption, and related sociopolitical issues have been represented in movies. Students look at how films illustrate the relationship between food and culture, sex, fantasy, and fear. Narrative, visual, and symbolic 81

uses of food are explored and put into the context of current popular culture. Students

Food Fight! The Role of Food in Advocacy and Sociopolitical Communication

acquire or refine the skills necessary for critically

Stefani Bardin

evaluate the ways in which filmmakers use food

A | 15 sessions | beg. Aug. 31 | W 4–5:50 pm

in their work. They acquire the analytical tools

Food has become embedded in the fabric of

needed to investigate food and its role in film

examining movies and popular culture. They learn to identify contemporary uses of film to communicate messages about food, food intake, and body image and to describe and

popular culture because of the rise of technology

from cultural, social, and political points of view.

and social media. However, complex issues such

4 CREDITS

as hunger and food justice, health and obesity,

NFDS 3615 $700

locavorism, biotechnological influences, fair

NFDS 2400 $300

studies in culture And society

Food Studies

LANGUAGES

LANGUAGEs

Intensive 1 Yan Deng

The New School’s comprehensive and robust language programming includes foreign languages, English as a second language, and professional-caliber training for teachers of ESL. Understand and get ahead in our increasingly global society, travel abroad, conduct business in other countries or with NYC’s multicultural communities, and appreciate great literature or films in the original languages by learning a foreign language. Meet the worldwide demand for native or near-native English speakers trained to teach the language.

FOREIGN LANGUAGES ARABIC Introductory 1 Iman Maiki A | 30 sessions | beg. Aug. 29 | M, W 10:15–11:30 am B | 15 weeks (online synchronous) | beg. Aug. 30 | T, Th 8-9:15 pm

Note: In fall 2016, section B meets synchronously online twice a week (Tuesday and Thursday, 8–9:15 pm). This is the first course of a two-part sequence that introduces the

Intermediate 1 Karam Tannous

with no prior training in the language. Students 84

acquire elementary grammar, build vocabulary, and practice basic conversation. They acquire knowledge of the Arabic-speaking world while enhancing their communicative skills. The class uses a multimedia textbook program, including an electronic workbook with audio, video, chapter exercises, and activities. 3 CREDITS NARB 1101 $700

This is the first course of a two-part

Iman Maiki

terms? Fill in the blanks to your next

and acquire knowledge of the Chinese-speaking

learning journey and #LearnGrowRepeat

world while enhancing their communicative

this fall with continuing education courses

skills. The course has a fully integrated multi-

and certificates at The New School. Start by

media program (electronic workbook with audio,

joining us for free pop-up classes in writing,

video, chapter exercises, and activities).

media, and art; live music performances;

4 CREDITS

one-on-one advising; and more!

NCHM 1003 $1,100

Looking for more goodies? You’ll have a chance to win prizes with raffles and

in context through simple cultural and literary

This is the first course of a two-part

readings, short films, and other audiovisual and

intermediate-level sequence that reviews and

online resources. Prerequisite: completion of

expands on previously studied grammatical

introductory-level Arabic coursework. 3 CREDITS

structures and vocabulary. Language is taught

NARB 2101 $700

in context through simple cultural and literary readings, short films, and other audiovisual and online resources. Prerequisite: completion of

CHINESE (MANDARIN)

introductory-level Chinese coursework.

Introductory 1

NCHM 2101 $700

A | 30 sessions | beg. Aug. 30 | T, Th 4–5:15 pm This is the first course of a two-part sequence that introduces the fundamentals of speaking, listening, reading, and writing in Chinese. It is designed for students with no prior training in the language. Students acquire elementary conversation. They acquire knowledge of the Chinese-speaking world while enhancing their communicative skills. The class uses a multi-

NCHM 1101 $700

Chinese: Pop Culture and Calligraphy

Find all course listings and register at newschool.edu/ce/classes or by calling 212.229.5620.

courses through pop-up classes.

• Enjoy being serenaded by New School musicians.

• Create, innovate, and become inspired by fun interactive activities.

RSVP at newschool.edu/TheNewCEExpo.

Introductory 1 Instructor to be announced A | 30 sessions | beg. Aug. 29 | M, W 4–5:15 pm B | 15 sessions | beg. Sept. 2 | F 10 am–12:30 pm

Sanaz Partovi

advanced-level students who are interested in Chinese popular culture and classical art forms, primarily calligraphy. Students study Chinese language and society through the dynamic lens of contemporary popular culture, film, and media. Additional key topics include contemporary Chinese art, fashion, and youth culture.

Students participate in two in-class calligraphy

85

FRENCH

This course is designed for high-intermediate- to

NCHM 4718 $700

enhancing their communicative skills. The

up for courses on-site. Sample CE

Stephane Zaborowski

3 CREDITS

and acquire knowledge of the Arab world while

• Get one-on-one advising and sign

A | 15 sessions | beg. Sept. 1 | Th 6–7:50 pm

advanced-level proficiency in Mandarin Chinese.

elementary grammar skills, build vocabulary,

education program directors and faculty.

Lei Ping

workshops. Prerequisite: high-intermediate- or

reading, and writing in Arabic. They develop

giveaways and meet with continuing

3 CREDITS

Lei Ping

and activities. 3 CREDITS

NARB 1003 $1,100

Ready to go back to school on your own

elementary grammar skills, build vocabulary,

A | 30 sessions | beg. Aug. 29 | M, W 6–7:15 pm

beginners with little or no knowledge of Arabic

chapter exercises, and activities). 4 CREDITS

reading, and writing in Chinese. They develop

structures and vocabulary. Language is taught

workbook with audio, video, chapter exercises,

program (electronic workbook with audio, video,

tion in the fundamentals of speaking, listening,

Li Duan

media textbook program, including an electronic

course has a fully integrated multimedia

University Center, 63 Fifth Avenue, NYC

expands on previously studied grammatical

This is an accelerated elementary course for

tion in the fundamentals of speaking, listening,

Tuesday, August 2, 2016, 6:30–8:30 pm

who are looking for intensive, in-depth instruc-

Intermediate 1

A | 13 sessions | beg. Sept. 10 | Sat 10 am–1:45 pm

who are looking for intensive, in-depth instruc-

beginners with little or no knowledge of Chinese

intermediate-level sequence that reviews and

grammar, build vocabulary, and practice basic

Intensive 1

This is an accelerated elementary course for

A | 15 sessions | beg. Sept. 2 | F 10 am–12:30 pm

fundamentals of speaking, listening, reading, and writing in Arabic. It is designed for students

A | 13 sessions | beg. Sept. 10 | Sat 10 am–1:45 pm

#LearnGrowRepeat Continuing Education Expo & Open House

C | 30 sessions | beg. Aug. 30 | T, Th 10:15–11:30 am

Stephane Zaborowski D | 30 sessions | beg. Aug. 30 | T, Th 4–5:15 pm

Daisy Bow E | 30 sessions | beg. Aug. 30 | T, Th 12–1:15 PM

Daisy Bow F | 15 weeks (online synchronous) | beg. Aug. 30 | T, Th 8–9:15 pm

Note: In fall 2016, section F meets synchronously online twice a week (Tuesday and Thursday, 8–9:15 pm). This is the first course of a two-part sequence that introduces the fundamentals of speaking, listening, reading, and writing in French. It is designed for students

More questions about a class?

Get in touch! ce@newschool.edu

with no prior training in the language. Students acquire elementary grammar, build vocabulary, and practice basic conversation. They acquire knowledge of the Francophone world while

languages

French

enhancing their communicative skills. The class uses a multimedia textbook program, including an electronic workbook with audio, video, chapter exercises, and activities. 3 CREDITS NFRN 1101 $700

Introductory 2 Noelle Carruggi A | 30 sessions | beg. Aug. 29 | M, W 10:15–11:30 am

Alfredo Marques B | 30 sessions | beg. Aug. 30 | T, Th 6–7:15 pm This is the second course of a two-part

Intensive 1

sequence that introduces the fundamentals of speaking, listening, reading and writing in

acquiring elementary grammar, build vocabu-

component consists of volunteering for two

lary, and practice basic conversation and

shows during New York Fashion Week.

continue to learn about France and the

3 CREDITS

Francophone world while enhancing their

NFRN 3751 $700

communicative skills. The course has a fully integrated multimedia program (electronic workbook with audio, video, chapter exercises, and activities). 4 CREDITS NFRN 1004 $1,100

Advanced: French Films and Hollywood

Adelheid Ziegler

French. It is designed for students with

A | 13 sessions | beg. Sept. 10 | Sat 10–1:45 pm

elementary knowledge of the language.

This is an accelerated elementary course for

Students continue acquiring elementary

beginners with little or no knowledge of French

grammar, build vocabulary, and practice basic

Intermediate 2

looking for a more intensive, in depth study of

conversations. They acquire knowledge of the

Noelle Carruggi

received acclaim in the United States. French

the fundamentals of speaking, listening,

Francophone world while enhancing their

A | 30 sessions | beg. Aug. 29 | M, W 2–3:15 pm

cinema has long been seen as an alternative

reading, and writing in French. They acquire

communicative skills. The class uses a multi-

This is the second course of a two-part

to the more commercially successful films of

elementary grammar skills, build vocabulary,

media textbook program, including an

intermediate-level sequence that reviews and

Hollywood. The course considers what makes

and acquire knowledge of France and the

electronic workbook with audio, video, chapter

builds on previously studied complex grammati-

French cinema particularly “French” and how it

Francophone world while enhancing their

exercises, and activities. 3 CREDITS

cal structures and vocabulary. Language is

attracts specific audiences abroad, particularly

communicative skills. The course has a fully

NFRN 1102 $700

taught in context through cultural and literary

in the United States. We also look at how

integrated multimedia program (electronic

readings, films, and other audiovisual and online

Hollywood is gradually transforming the French

workbook with audio, video, chapter exercises

resources. Prerequisite: completion of introductory-

film industry. Film discussions and presenta-

and activities). 4 CREDITS

Faculty Profile: Raúl Rubio

level French coursework. 3 CREDITS

tions are complemented by a wide range of

NFRN 2102 $700

readings and assignments. Prerequisite:

Raúl Rubio is an associate professor of

Grammar and Composition 1

NFRN 1003 $1,100

Marie-Christine Massé A | 30 sessions | beg. Aug. 30 | T, Th 12–1:15 pm In this advanced course, taught completely in French, the class studies French films that have

high-intermediate- to advanced-level proficiency in French. 3 CREDITS

Intermediate 1 Hayet Sellami A | 30 sessions | beg. Aug. 29 | M, W 6–7:15 pm

Marie-Christine Massé 86

Hispanic Studies and chair of Foreign Languages at The New School. Trained as a Hispanist and cultural studies scholar,

Marie-Christine Massé A | 15 weeks | Aug. 29–Dec. 20

NFRN 3101 $700

GERMAN

B | 30 sessions | beg. Aug. 30 | T, Th 2–3:15 pm

Rubio is widely known for his research on

This is an intermediate-level writing course

This is the first course of a two-part

Cuban visual and material cultures. He has

designed for students who have already

intermediate-level sequence that reviews and

published numerous studies on comparative

acquired a foundation in French but wish to

Rainer Brueckheimer

expands on previously studied grammatical

literature, film, and graphic and decorative

review and refine their understanding and use of

A | 30 sessions | beg. Aug. 30 | T, Th 10:15–11:30 am

structures and vocabulary. Language is taught

arts. Rubio’s research is grounded in the

basic grammatical and lexical features. Through

Adelheid Ziegler

in context through simple cultural and literary

emerging interdisciplinary field of material

the study and practice of various forms of

B | 30 sessions | beg. Aug. 29 | M, W 6–7:15 pm

writing, it offers a thorough review of the basic

This is the first course of a two-part sequence

principles of French writing. 3 CREDITS

that introduces the fundamentals of speaking,

NFRN 2011 $700

listening, reading and writing in German. It is

readings, short films, and other audiovisual and online resources. Prerequisite: completion of introductory-level French coursework. 3 CREDITS NFRN 2101 $700

culture, which examines a wide range of artifacts, from cultural commodities to the museum archive. Rubio earned a doctorate in Latin American literature and cultural studies at Tulane University in New Orleans. He is a

Level 2 Marie-Laure Hoffman A | 13 sessions | beg. Sept. 2 | F 6–7:50 pm This is the second course of an introductory

graduate of Middlebury College of Vermont and completed a master’s degree in Spanish at Middlebury’s School in Madrid. He teaches advanced Spanish and professional Spanish.

Fashion Week in French Sanaz Partovi A | 15 sessions | beg. Aug. 30 | T 4–5:50 pm Fashion Week in French is for students with intermediate- to advanced-level knowledge of

fundamentals of speaking, listening, reading,

French who wish to deepen their language skills

and writing in French. This course sequence has

around the fashion industry while getting

been phased out; interested students should

firsthand experience in the field by participating

sequence after taking this class. 2 CREDITS NFRN 1002 $600

Intensive 2 Alfredo Marques A | 13 sessions | beg. Sept. 10 | Sat 10–1:45 pm This is the second course of an accelerated elementary sequence that introduces the fundamentals of speaking, listening, reading, and writing in French. Students continue

languages

designed for students with no prior training in the language. Students acquire elementary

sequence that introduces students to the

consider embarking on the Intermediate

87

Introductory 1

in New York Fashion Week. The course gives students a solid basis in French for analyzing,

grammar, build vocabulary, and practice basic conversation. They acquire knowledge of the German-speaking world while enhancing their communicative skills. The class uses a multimedia textbook program, including an electronic workbook with audio, video, chapter exercises, and activities. 3 CREDITS NGRM 1101 $700

Introductory 2

commenting on, and simply talking about

Rainer Brueckheimer

different areas of the fashion industry, such as

A | 30 sessions | beg. Aug. 29 | M, W 6–7:15 pm

clothing, styling, current trends, the universe of

This is the second course of a two-part

designers, the business of fashion, collections,

sequence that introduces the fundamentals of

and show production. The experiential

speaking, listening, reading, and writing in

German

German. It is designed for students with elementary knowledge of the language.

Students continue acquiring elementary grammar, build vocabulary, and practice basic conversation. They acquire knowledge of the German-speaking world while enhancing their communicative skills. The class uses a multimedia textbook program, including an electronic workbook with audio, video, chapter exercises, and activities. 3 CREDITS NGRM 1102 $700

ITALIAN Introductory 1 Giuseppe Manca A | 30 sessions | beg. Aug. 29 | M, W 10:15–11:30 am B | 30 sessions | beg. Aug. 30 | T, Th 6–7:15 pm This is the first course of a two-part sequence that introduces the fundamentals of speaking, listening, reading and writing in Italian. It is designed for students with no prior training in the language. Students acquire elementary grammar, build vocabulary, and practice basic conversation. They acquire knowledge of the Italian-speaking world while enhancing their communicative skills. The class uses a multimedia textbook program, including an electronic workbook with audio, video, chapter exercises, 88

and activities. 3 CREDITS NITL 1101 $700

KOREAN

Intermediate 1

Intermediate 1

Caterina Bertolotto

Kazue Kurahara

A | 30 sessions | beg. Aug. 29 | M, W 4–5:15 pm

A | 30 sessions | beg. Aug. 29 | M, W 12–1:15 pm

This is the first course of a two-part

This is the first course of a two-part

Sunhee Song

intermediate-level sequence that reviews and

intermediate-level sequence that reviews and

B | 30 sessions | beg. Aug. 29 | M, W 12–1:15 pm

expands on previously studied grammatical

expands on previously studied grammatical

This is the first course of a two-part sequence

structures and vocabulary. Language is taught

structures and vocabulary. Language is taught

that introduces the fundamentals of speaking,

in context through simple cultural and literary

in context through simple cultural and literary

listening, reading, and writing in Korean. It is

readings, short films, and other audiovisual and

readings, short films, and other audiovisual and

designed for students with no prior training in

online resources. Prerequisite: completion of

online resources. Prerequisite: completion of

the language. Students acquire elementary

introductory-level Italian coursework. 3 CREDITS

introductory-level Japanese coursework.

grammar, build vocabulary, and practice basic

NITL 2101 $700

3 CREDITS

conversation. They acquire knowledge of the

JAPANESE Introductory 1 Kazue Kurahara A | 30 sessions | beg. Aug. 29 | M, W 10:15–11:30 am

John Molnar

NJPN 2101 $700

Korean-speaking world while enhancing their communicative skills. The class uses a textbook, including a workbook with audio, video, chapter

Introductory 2 Kyoko Hincapie A | 30 sessions | beg. Aug. 30 | T, Th 12–1:15 pm This is the second course of a two-part

B | 30 sessions | beg. Aug. 29 | M, W 8–9:15 pm

sequence that introduces the fundamentals

This is the first course of a two-part sequence

of speaking, listening, reading, and writing in

that introduces the fundamentals of speaking,

Japanese. It is designed for students with

listening, reading and writing in Japanese. It is

elementary knowledge of the language.

designed for students with no prior training in

Students continue acquiring elementary

the language. Students acquire elementary

grammar, build vocabulary, and practice basic

grammar, build vocabulary, and practice basic

conversation. They acquire knowledge of the

conversation. They acquire knowledge of the

Japanese-speaking world while enhancing their

Japanese-speaking world while enhancing their

communicative skills. The class uses a multi-

communicative skills. The class uses a multi-

media textbook program, including an electronic

media textbook program, including an electronic

workbook with audio, video, chapter exercises,

workbook with audio, video, chapter exercises,

and activities. 3 CREDITS

and activities. 3 CREDITS

Introductory 1

NJPN 1102 $700

NJPN 1101 $700

exercises, and activities. 3 CREDITS NKRN 1101 $700

PORTUGUESE (BRAZILIAN) Introductory 1 Tobias Nascimiento A | 30 sessions | beg. Aug. 29 | M, W 6–7:15 pm

Liria Van Zandt B | 15 sessions | beg. Sept. 2 | F 10 am–12:30 pm This is the first course of a two-part sequence that introduces the fundamentals of speaking, listening, reading and writing in Portuguese. It is designed for students with no prior training in the language. Students acquire elementary grammar, build vocabulary, and practice basic conversation. They acquire knowledge of the Portuguese-speaking world while enhancing their communicative skills. The class uses a

Conversational Japanese Ichiro Kishimoto A | 30 sessions | beg. Aug. 30 | T, Th 10:15–11:30 am This course is for students with very basic intermediate fluency who wish to refine their speaking skills and complement their language class with a practical session focused on conversation. Students in this course practice the same topics covered in Japanese Intermediate Intensive 1 and apply them in conversational situations. In addition to studying cultural topics, students focus on retelling events in the past, expressing their opinions about issues that affect their lives and others’, describing habits of the past and comparing them with current ones, giving instructions and directions, describing different kinds of housing and the search for the right roommate, and talking about their future and that of others. Prerequisite: intermediate-level knowledge of Japanese. 3 CREDITS NJPN 2731 $700

textbook, including a workbook with audio, video, chapter exercises, and activities.

3 CREDITS

NPRT 1101 $700

AMERICAN SIGN LANGUAGE Introductory 1 Jeffrey Mooney A | 30 sessions | beg. Aug. 30 | T, Th 6–7:15 pm This is the first course of a two-part sequence that introduces the fundamentals of American Sign Language (ASL), a form of communication used by thousands of deaf Americans and Canadians. Students master the techniques essential to ASL conversations, including finger-spelling and facial expressions. Through demonstrations and class activities, including interactive exercises and role-playing, students gain familiarity with ASL at a beginner’s level, along with a general understanding of the history of deaf society in the United States. This course is led by a deaf native signer. 3 CREDITS NSLN 1103 $700

languages

American Sign Language

89

Selected Topics: Sign Language

Intensive 1

Gabriel Gryszka

A | 13 sessions | beg. Sept. 10 | Sat 10 am–1:45 pm

A | 15 sessions | beg. Sept. 2 | F 10–11:50 am

Spanish Intensive 1 is an accelerated elementary

This course provides an overview of the worlds

course for beginners with little or no knowledge

of deaf culture and signing. It includes a

of Spanish who are looking for intensive,

discussion of the multiple forms of sign

in-depth instruction in the fundamentals of

Students continue acquiring elementary

texts authored by Latin American, Spanish, and

grammar, build vocabulary, and practice basic

U.S. Latina/o writers. Students examine a wide

conversation. They acquire knowledge of the

range of societal issues, including language, race,

Spanish-speaking world while enhancing their

and class; discuss the readings; and develop their

communicative skills. The class uses a multi-

creative interests, from playwriting to dramatic

media textbook program, including an

exercises, particularly scene acting, diction

electronic workbook with audio, video, chapter

practice, and other activities aimed at improv-

languages (SEE, PSL, ASL) and provides a history

speaking, listening, reading, and writing in

exercises, and activities. 3 CREDITS

ing oral and writing skills in Spanish. 3 CREDITS

of the deaf movement. Topics include the

Spanish. They acquire elementary grammar

NSPN 1102 $700

NSPN 3730 $700

cochlear implant controversy, total communica-

skills, build vocabulary, and acquire knowledge

tion, and the founding of Gallaudet University.

of the Spanish-speaking world while enhancing

Class activities include single spelling practice

their communicative skills. The class uses a fully

and real-life scenarios. There is no prerequisite.

integrated multimedia program (electronic

Conversational Spanish

Cuba Now! Arts and Society

3 CREDITS

workbook with audio, video, chapter exercises and activities). 4 CREDITS

Raúl Rubio

Raúl Rubio

NSLN 2705 $700

A | 30 sessions | beg. Aug. 30 | T, Th 12–1:15 pm

A | 15 sessions | beg. Aug. 31 | W 4–5:50 pm

This is an intermediate-level conversation

Cuba Now! Arts and Society examines Cuban

course conducted entirely in Spanish, designed

nationality through a wide range of artistic

to reinforce and expand students’ communica-

media, from art and visual culture to literature

Level 2

tive skills in Spanish and to deepen cultural

and film. The class analyzes innovative social

Teresa Bell

knowledge. A variety of texts will be discussed,

media activism, social entrepreneurship, and

including news articles, video clips, ads, and

cultural sustainability initiatives as well as

films. Students are expected to participate in a

progress in U.S.-Cuban relations, the island’s

wide range of small- and large-group activities,

current realities, and the Cuban diaspora at

including conversations, interviews, film

large, exploring possible Cuban futures related

reviews, group discussions, and presentations.

to ideology, politics, democracy, race, and

Prerequisite: intermediate- to advanced-level

ethnicity. This class is conducted in English.

Ronald Sarcos

NSPN 1003 $700

SPANISH Introductory 1 Sonia Granillo-Ogikubo

90

A | 13 sessions | beg. Aug. 31 | W 6–7:50 pm

A | 30 sessions | beg. Aug. 29 | M, W 10:15–11:30 am

This is the second course of an introductory-

Victor Tirado

level sequence that introduces students to the

B | 30 sessions | beg. Aug. 30 | T, Th 6–7:15 pm

fundamentals of speaking, listening, reading,

Luis Guzman

and writing in Spanish. This course sequence has

C | 13 sessions | beg. Sept. 2 | F 10 am–12:30 pm

been phased out; interested students should

Instructor to be announced

consider embarking on the Intermediate

proficiency in Spanish. 3 CREDITS

3 CREDITS

D | 15 weeks (online synchronous) | beg. Aug. 29 | M,

sequence after taking this class. 2 CREDITS

NSPN 2731 $700

NFLN 1125 $700

W 8–9:15 pm

NSPN 1002 $600

Intermediate 1

Grammar and Composition

Advanced: Latin American Film

Luis Guillermo Galli Vilchez

Sara Villa

Sara Villa

B | 30 sessions | beg. Aug. 30 | T, Th 6–7:15 pm

A | 15 weeks | Aug. 29–Dec. 20

A | 30 sessions | beg. Aug. 29 | M, W 12:00–1:15 pm

This is the first course of a two-part

In this intermediate-level writing course,

In this advanced language course, conducted

intermediate-level sequence that reviews and

students review and strengthen their under-

entirely in Spanish, we examine a selection of

expands on previously studied grammatical

standing and use of basic grammatical features,

influential films from Latin America that touch

structures and vocabulary. Language is taught

including past tenses, distinctions between ser

upon a wide range of societal themes, including

in context through simple cultural and literary

and estar, the subjunctive, and discourse

immigration and exile, sexual and racial politics,

readings, short films, and other audiovisual and

markers. Students focus on writing short and

human rights and memory, and marginalized or

online resources. Prerequisite: completion of

longer assignments—a blog entry, a reflexive

fringe groups. Discussions and analysis of the

introductory-level Spanish coursework.

self-portrait, letters, diary entries, argumenta-

films are supplemented by topical readings and

3 CREDITS

tive essays, and more. 3 CREDITS

written assignments. This course is grounded in

NSPN 2101 $700

NSPN 2011 $700

a content-based, communicative approach to

Introductory 2 Luis Guzman

Hispanic Theater Workshop

A | 30 sessions | beg. Aug. 29 | M, W 10:15–11:30 am

Luis Guillermo Galli Vilchez

Teresa Bell

A | 15 sessions | beg. Aug. 31 | W 6–7:50 pm

B | 30 sessions | beg. Aug. 30 | T, Th 6–7:15 pm

This is a workshop-style language course

This is the second course of a two-part

geared to high-intermediate- to advanced-level

sequence that introduces the fundamentals

Spanish-language students interested in theater

of speaking, listening, reading, and writing in

and the performing arts. Students embark on a

Spanish. It is designed for students with

cultural and linguistic journey exploring Spanish-

elementary knowledge of the language.

language theater and performance by discussing

Note: In fall 2016, section D meets synchronously online twice a week (Monday and Wednesday, 8–9:15 pm). This is the first course of a two-part sequence that introduces the fundamentals of speaking, listening, reading, and writing in Spanish. It is designed for students with no prior training in Spanish.

Students acquire elementary grammar, build vocabulary, and practice basic conversation.

They acquire knowledge of the Spanish-speaking world while enhancing their communicative skills. The class uses a multimedia textbook program, including an electronic workbook with audio, video, chapter exercises, and activities.

3 CREDITS

NSPN 1101 $700

91

language learning. 3 CREDITS NSPN 3101 $700

Find all course listings and register at newschool.edu/ce/classes or by calling 212.229.5620.

languages

#TheNewCE #LearnGrowRepeat

Spanish

ENGLISH AS A SECOND LANGUAGE

ESL+ CERTIFICATES The New School’s ESL+ certificates are innovative language preparation programs that provide a high-quality English language foundation and

The New School offers English language instruction from the low-intermediate to the advanced level for speakers of other languages.

The courses are designed for students preparing for studies in the United States, professionals working in English-speaking environments, and anyone who needs to speak and write better English for personal or career purposes. Students can take individual courses or enroll in a full-time intensive certificate program, depending on their purposes.

The New School awards a Certificate in English as a Second Language to students who successfully complete a minimum of 100 hours of ESL classes. All students who complete the certificate program can expect to emerge with improved fluency and independent learning skills.

ESL COURSES

92

pathway for students to continue their academic and professional careers at The New School and beyond.

ESL + DESIGN

24 sessions | beg. Sept. 12

24 sessions | beg. Sept. 13

Students learn more than just rules of grammar;

Enrollment limited. Permission required.

they learn how to use grammar in speaking and

Students read a variety of longer and shorter

writing. Grammar classes are lively and active, with

texts, which they are expected to discuss and

reading, discussion, videos, songs, presentations,

write about in detail in class, in homework

games, and writing as well as more traditional

assignments, and on quizzes. In-class activities

exercises and quizzes. Levels 3–6 offered. $1,190

and homework assignments help students

tion with the International Culinary Center (ICC).

The certificate program provides a high-quality English language education for students who want to attend culinary school at the ICC, obtain a degree in Food Studies at The New School, or choose another career path within the food

structured set of intensive English language

industry. Program features include access to

(ESL) courses detailed above plus a design

New York City’s culinary scene, including culinary

studio, short supplemental workshops, and an

events and food industry guest speakers.

orientation to life in the United States. Those

Students are also exposed to influential chefs

who successfully complete the program can

and restaurants and take field trips to the ICC

obtain a certificate of completion confirming

for demonstrations by master chefs and to the

they have attained a specified level of profi-

Union Square Greenmarket. Our signature

ciency in English speaking, reading, and writing

course, The Language of the Kitchen, reinforces

and foundational skills in art and design. The

key vocabulary of food, cooking, and prepara-

program also includes short practical workshops

tion techniques in a supportive and interactive

on topics such as preparing your application to

classroom setting.

and how to succeed at Parsons.

READING

The New School in New York City in collabora-

The ESL + Design program of study is the

Parsons, the vocabulary of fashion and design,

GRAMMAR

ESL + FOOD The ESL + Food Certificate was designed by

newschool.edu/public-engagement/ esl-food-certificate

newschool.edu/public-engagement/ esl-design-certificate

93

increase their reading speed, comprehension, confidence, and enjoyment. Levels 3–6 offered.

LISTENING/SPEAKING

$820

24 sessions | beg. Sept. 12 In these classes, students practice speaking and

ESL SCHEDULING

listening in a variety of informal and formal

Below is the class schedule for the ESL courses in

situations. They learn idioms and phrasal verbs,

grammar, listening/speaking, writing, and reading.

practice difficult pronunciation patterns and sounds, and develop presentation skills.

Listening practice involves movies, YouTube videos, and lectures. Levels 3–6 offered. $820

TIME

M, W

9–11:40 am

Grammar

T, Th Writing

1:50–3:40 pm

Listening/Speaking

Reading

ACADEMIC WRITING 24 sessions | beg. Sept. 13 ESL writing courses take students through the process of writing, from prewriting to organizing, drafting, and revising everything from paragraphs to full-length essays. At each level, students learn the sentence structure, vocabulary, and writing techniques that will help them express themselves clearly in academic English.

Levels 3–6 offered. $1,190

languages

ENGLISH AS A SECoND LANGUAGE

TEACHING ENGLISH TO SPEAKERS OF OTHER LANGUAGES English has become the language of international communication; command of spoken and written English is important in business, the arts, and other professions all over the world. Locally, learning English can empower and assist underserved communities of immigrants and refugees.

The demand for trained ESL teachers and ESL courses continues to grow.

Using Authentic Materials to Teach ESL Linda Pelc A | 5 sessions | beg. Oct. 1 | Sat 2–5 pm Enrollment limited. Permission required; call 212.229.5372. This course presents techniques for choosing and using appropriate TV and radio broadcasts, films, cassette tapes, newspapers,

The New School offers the Master of Arts

magazines, brochures, flyers, and other media.

in Teaching English to Speakers of Other

Participants learn how to prepare teaching

Languages (TESOL), with concentrations

exercises that incorporate these kinds of

in teaching and curriculum development.

materials, and, as time permits, the class experiments with them. 1 CREDIT

ertificate in C Teaching English

ESL Teaching Practicum

An Introduction to X-Word Grammar

Eugenia Coutavas

Tamara Kirson

A | 15 sessions | beg. Aug. 31 | W 7–9:40 pm

A | 13 sessions | beg. Sept. 6 | T 6–7:50 pm

Enrollment limited. Permission required; call The New School offers a certificate for aspiring

Enrollment limited. Permission required; call

212.229.5372. This course is open to those

212.229.5372. This course consists of two

and working ESL teachers for whom a

interested in teaching or currently teaching

components: 30 hours of volunteer teaching

master’s degree is inappropriate or impracti-

English as a second or foreign language. Learn

(cumulative over the course of the semester)

cal. The certificate curriculum has a practical

the basics of student-centered teaching and

and a weekly seminar class with other student

orientation based on theory and techniques of

how to plan lessons that integrate contextual-

teachers. Students choose a location for their

ized grammar instruction with the teaching of

teaching from the many suggested offsite

vocabulary and the four language skills

locations throughout the metropolitan area.

(speaking, listening, reading, writing). Also learn

Prerequisites: Methods and Techniques of

about error correction and classroom manage-

Teaching ESL/EFL, English Grammar for ESL

ment. The emphasis is on communicative

Teachers, and Using Authentic Materials to

communicative, student-centered learning.

Students learn a variety of skills readily applicable to classroom teaching and tutoring.

94

Theresa Breland

Note: This program does not certify teachers for New York public schools.

learning. Participants are required to observe at

The certificate curriculum is awarded for

least three hours of ESL classes and teach an

successful completion of these five courses:

ESL/EFL class for a minimum of 20 hours during

• Methods and Techniques in

teaching positions; call 212.229.5372 or email

Teaching ESL/EFL

the semester. Participants must find their own elsc@newschool.edu for a list of possible

• English Grammar for ESL Teachers

teaching sites. 4 CREDITS

• Teaching the Sound System of English

NELT 3411 $1,100

• Using Authentic Materials to Teach ESL

For more information, visit the website at newschool.edu/matesol.

NELT 3432 $400

Methods of Teaching ESL/EFL

MASTER OF ARTS IN TEACHING ENGLISH TO SPEAKERS OF OTHER LANGUAGES

Teach ESL. 3 CREDITS

A | 1 session | Oct. 8 | Sat 10 am–5 pm X-Word Grammar (XWG) demystifies grammar rules for our students. It reveals the consistency in English and builds our students’ confidence and competence. This introductory interactive workshop focuses on the relationships of subject and verbs, auxiliary verbs and main verb, and verbs and time. These are often challenging concepts for English language learners. XWG offers an accessible and effective new paradigm enabling our students to better understand these relationships and correctly apply them in their writing.

NELT 3416 $700

NELT 0544 $200

PROFESSIONAL DEVELOPMENT: ONE-DAY WORKSHOPS Linda Pelc

Project-Based Learning: Students in Collaboration for Language Learning

A | 1 session | Sept. 24 | Sat 10 am–5 pm

Tamara Kirson

This workshop will focus on the following

A | 1 session | Nov. 5 | Sat 10 am–5 pm

aspects of teaching and learning: assessing

Project-based learning (PBL) invites students to

Aligning Materials

• ESL Teaching Practicum

English Grammar for ESL Teachers

To apply, visit newschool.edu/tesol.

Delis Pitt

students to determine their instructional level,

learn language by collaborating on content-

A | 15 sessions | beg. Sept. 1 | Th 7–9:40 pm

adjusting content, and sequencing activities to

based projects. Student teams research, discuss,

Enrollment limited. Permission required; call

ensure student comprehension, practice, and

plan, and present projects like posters, alphabet

212.229.5372. This course is designed to improve

progress. Participants will evaluate materials

books, restaurant guides, crossword puzzles,

formal understanding of English grammar while

and activities for level and effectiveness in

and board games. You facilitate the learning

providing hands-on, practical training for future

achieving instructional objectives. In addition,

while students develop language competence

language teachers. By the end of this course,

participants create lessons for appropriate levels

and confidence. This interactive PBL workshop

students will have interiorized a pedagogical

from materials provided by the instructor.

includes theory, handouts, project samples, and

method that enables them to research any

NELT 0545 $200

time to begin your own project design. Plan for

More questions about a class?

Get in touch! ce@newschool.edu

grammar structure assigned to them and to

PBL this fall, so that you can start the spring

build interesting and constructive lessons

semester with your ideas in place.

around it. 3 CREDITS

NELT 0534 $200

NELT 3412 $1,100

languages

Teaching english to speakers of other languages

95

MANAGEMENT, LEADERSHIP, AND GEMENT, ENTRERSHIP, AND PREPRENEURSHIP NEURSHIP

MANAGEMENT, LEADERSHIP, AND ENTREPRENEURSHIP The world is changing moment to moment—creating unprecedented risks and opportunities, in the commercial sector more than any other.

Make your contributions count and sharpen the skills you need to successfully launch your own start-up, navigate a new nonprofit venture, or keep your business—and your career—ahead of the competition.

INTRODUCTION TO MICROECONOMICS

Basic Accounting

Aviva Ancona

A | 15 weeks | Aug. 29–Dec. 20

A | 15 weeks | Aug. 29–Dec. 20

This course introduces basic concepts and

This course introduces the principles of micro-

practices of accounting and double-entry

economics and shows how microeconomic

bookkeeping. Journals, ledgers, and various

analysis and techniques can be employed in

types of accounts are described and discussed.

problem solving. We begin with the basics

Real-world business transactions are analyzed,

of supply (firms) and demand (consumers) and

and their proper entry into financial records is

examine the logic of consumers’ choices and

demonstrated. Students learn how to determine

firms’ decisions regarding output and pricing

profit or loss on a cash or accrual basis and

policies. We next study market structures,

related skills, such as preparing budgets and

technological innovations, market failures, and

reading basic financial statements. 3 CREDITS

public policies. Finally we analyze labor markets,

NMGT 2110 $700

Aviva Ancona

income distribution, and poverty. Throughout

97

we discuss case studies, such as the Microsoft antitrust case, deregulation of the telecom industry, and the debate about the effects of raising the national minimum wage. 3 CREDITS NECO 2004 $700

Big Data: Consumer Research Debra Anderson A | 15 sessions | beg. Aug. 30 | T 6–7:50 pm Immense amounts of data collected on the Internet can be harnessed for business and other

Introduction to Management

purposes. In this course, students learn basic skills for finding and analyzing data, identifying

Richard Walton

patterns in it, and presenting results in a succinct

A | 15 weeks | Aug. 29–Dec. 20

manner. Development of these practical skills

This is a skill-building course for people whose

is framed by readings on consumer behavior,

job responsibilities or career interests require

market segmentation, and the privacy issues

knowledge of basic management principles. We

that arise from the collection, use, and abuse of

study concepts of organization, communication,

personal and consumer information. 3 CREDITS

decision making, planning, motivating, group

NMGT 2112 $700

dynamics, leadership, and change. Examples of common day-to-day management and supervisory problems provide realistic case studies. 3 CREDITS NMGT 2100 $700

Find all course listings and register at newschool.edu/ce/classes or by calling 212.229.5620.

MANAGEMENT, LEADERSHIP, AND ENTREPRENEURSHIP

Introduction to Marketing

Entrepreneurship

Linnette Attai

A | 15 weeks | Aug. 29–Dec. 20

A | 15 weeks | Aug. 29–Dec. 20

Start-ups are the drivers of today’s economy.

This course is for students interested in

It takes specific skills and qualities to lead an

acquiring a working knowledge of the terminol-

organization to success in this vibrant sector.

ogies, processes, and practices needed to

This hands-on, highly interactive course teaches

manage marketing in for-profit and not-for-

students how to assess an idea, find funding,

profit companies. Learn fundamental concepts

and bring the product to the market. We review

and models such as the Four P’s, segmentation,

the concept of entrepreneurship and the

consumer behavior, and branding, and explore

practices associated with the successful

the interdisciplinary roots of marketing in

development and launch of a start-up. This is

anthropology, sociology, economics, and

a practical course that combines the use of

psychology. Students are encouraged to

real-world case studies, background notes, and

consider target markets as subcultures, products

readings from sources specializing in entrepre-

as cultural artifacts, and consumer decisions

neurship, marketing, etc., with real-life exercises

as behavioral choices. Current trends and hot-

such as developing an elevator pitch, devising

button issues, including ambush marketing,

a business plan, and delivering an investor

corporate social responsibility, and green

presentation. 3 CREDITS

marketing, are examined. Cases and guest

NMGT 2140 $700

Richard Walton

David Eng

opportunities and challenges. This course focuses on building a business organization capable of managing and sustaining growth.

Entrepreneurs need to operationalize their organizations (i.e., get the right people and systems in place), motivate their teams,

A | 15 sessions | beg. Sept. 1 | Th 6–7:50 pm Like all great cities, New York offers a range of arts and cultural amenities, which drive the economy as well as enriching our lives. How does the arts and culture industry affect our local urban economy and beyond? And how is the marriage of creative product and informed consumer achieved in a highly competitive and cluttered world? This course uses New York City as a case study to introduce the principles and practices of marketing with application to museums, galleries, performing arts, and other

manage limited resources (human and financial), and ensure cash flow. While perfecting their product or service and developing customer loyalty, new businesses must constantly improve and innovate as well as attract new customers. Successful entrepreneurs also need to establish and communicate a culture and value system for their businesses, creating a solid foundation for the future.

3 CREDITS

NMGT 3140 $700

cultural institutions and organizations. Engaging the well-known Four P’s of marketing (product, ations of budget, institutional politics, and

COMMUNICATIONS FOR ADVOCACY AND ACTIVISM

industry paradigms, students review selected

Bonnie McEwan

arts and cultural marketing campaigns and

A | 15 sessions | beg. Aug. 31 | W 6–7:50 pm

3 CREDITS

consider the role of marketing in the future of

In this course, we examine an array of theories,

NMGT 2115 $700

this vital sector. Guest speakers from the

strategies, and tactics that social change groups

industry bring their expertise to our discussions.

can employ to communicate the validity and

3 CREDITS

benefits of the changes they seek, and through

NMGT 3115 $700

that inspire people to action. Its aim is to help

speakers help students apply theory to a range of industries and products, including nonprofits, art and design, packaged goods, and services.

All About Advertising

price, place, promotion) and practical consider-

Advertising is changing before our eyes. This

#LearnGrowRepeat Continuing Education Expo & Open House

course explores mobile media, social networks,

Tuesday, August 2, 2016, 6:30–8:30 pm

viral and experiential campaigns, and user-

Growing a Small Business

University Center, 63 Fifth Avenue, NYC

Alejandro Crawford

Kurt Brokaw 98

ARTS AND CULTURAL MARKETING: SELLING WHAT MAKES NEW YORK CITY INTERESTING

A | 15 sessions | beg. Aug. 29 | M 8–9:50 pm

generated, stealth, and guerrilla marketing. We define psychographics, in-your-face appeals, behavioral targeting, and extreme imagery and language, as well as the newer advertising paradigms of Facebook, Twitter, and mobile device applications. This course features discussions with guest professionals in the field.

Invited guests include Juan Martinez and Amy Deneson, media executives, Gay, Lesbian, Straight Education Network (GLSEN); Eric Weisberg, executive creative director, J. Walter Thompson; Jennifer McBride, director of digital production, J. Walter Thompson; Mary Angela

NMGT 4220 $700

A | 15 sessions | beg. Aug. 29 | M 6–7:50 pm Entrepreneurs moving beyond the start-up

terms? Fill in the blanks to your next

phase of their businesses face both

eNewsletter sign-up: newschool.edu/TheNewCEInfo

learning journey and #LearnGrowRepeat this fall with continuing education courses and certificates at The New School. Start by joining us for free pop-up classes in writing, media, and art; live music performances; one-on-one advising; and more!

Looking for more goodies? You’ll have a chance to win prizes with raffles and giveaways and meet with continuing education program directors and faculty.

Advertising; and Carrie Stimmel, vice president

• Get one-on-one advising and sign

NMGT 2119 $700

effective communications. 3 CREDITS

Ready to go back to school on your own

Moutisses, engagement manager, Huge of advertising, NBC-TV. 3 CREDITS

students promote social justice through

up for courses on-site. Sample CE courses through pop-up classes.

• Enjoy being serenaded by New School musicians.

• Create, innovate, and become inspired by fun interactive activities.

RSVP at newschool.edu/TheNewCEExpo.

management, leadership, and entrepreneurship

MANAGEMENT, LEADERSHIP, AND ENTREPRENEURSHIP

99

Performance Ensembles Play or sing in one of our large performing ensembles. You’ll join a community of like-minded musicians, with a range of abilities and levels of experience.

MANNES SCHOOL OF MUSIC

Community Orchestra

New School Chorus

Conductor varies

Nathan Koci

A 15 sessions | beg. Aug. 31 | W 7:30–10 pm

A | 15 sessions | beg. Aug. 30 | T 6:45–8:30 pm

Open to all community members, faculty,

The New School Chorus is an exciting ensemble,

staff, and students at Mannes and the other

open to members from the entire New School

colleges of The New School, the Community

and greater New York City community. The

Orchestra is a performance-based ensemble

chorus fosters joyful communal singing and

with openings for all orchestral instruments.

offers participants a chance to explore a range

Email communityorchestra@newschool.edu

of music and singing styles from around the

for more information. The orchestra rehearses

world—everything from Western choral

Wednesdays from 7:30 to 10:00 pm (fall and

masterpieces to eastern European folk singing,

spring semesters only) in Tishman Auditorium.

classic American jazz and popular song to

1 CREDIT

traditional music. In rehearsals, members

CAPR 1050 $20

perform both written works and music learned by ear using a fun and educational approach to exploring the sonic possibilities of the human

Find all course listings and register at newschool.edu/ce/classes or by calling 212.229.5620.

voice. Email chorus@newschool.edu for details.

1 CREDIT

CAPR 1051 $20 101

Performance Ensembles

registration information ONLINE V isit newschool.edu/ce to get started.

S elect your area of interest.

D ecide whether to register as a noncredit, credit, or certificate student. Most students take courses on a noncredit basis (the

REGISTRATION, UNIVERSITY INFORMATION & ADMINISTRATIVE PoLICIES

road. If you think there’s a chance you might like to transfer credit for a course toward a degree or credential at a later date, we strongly urge you to take your course for credit.

B rowse courses and add to your basket.

cheapest option; no grade or academic

P ay by MasterCard, Visa, American Express,

record is kept). However, please bear in mind

or Discover. Immediately after registering

that if you register as a noncredit student, it’s

for your course, you will receive an email

not possible to apply credits retroactively if

confirming your registration.

you decide you’d like to use them down the

C heck out.

OVER THE PHONE Before Registering S elect a course.

N ote the course number and section

C all 212.229.5690 (noncredit only).

Hours: Monday–Friday, 9:00 am–6:00 pm.

Pay by MasterCard, Visa, American Express, or Discover.

(for example, NLIT 1000 section A).

P repare payment. Full payment is due at the time of registration.

ADDITIONAL PAYMENT AND REGISTRATION OPTIONS I n person at 72 Fifth Avenue, 2nd floor

P ay by MasterCard, Visa, American Express,

Regular hours:

or Discover; by personal check or money order

Monday–Thursday, 10:00 am–5:45 pm;

payable to The New School; or with cash.

Friday, 10:00 am–4:45 pm Extended hours: August 22–September 16: Tuesday–Thursday, 9:00 am–5:45 pm; Friday, 9:00 am–4:45 pm B y fax to 212.229.5648. Use printable

For questions regarding registration, email reghelp@newschool.edu.

More questions about a class? Email ce@newschool.edu.

registration form found here: newschool.edu/ registrar/forms.

TUITION AND FEES NONCREDIT

CREDIT

Tuition: Noncredit tuition reflected throughout

Tuition: NSPE: $1,190 (per credit); Parsons:

the catalog, plus $7 registration fee

$1,490 (per credit)

Materials fee: Stated in course description

Fees listed in the catalog are for noncredit

if applicable

registration. If you elect to take a course for

Registration fee: $7 per term

credit, tuition of $1,190 and $1,490 for the Schools of Public Engagement and Parsons courses, respectively, will be assessed in addition to these fees.

Materials fee: Stated in course description if applicable Registration fee: $80 per term

registration information

103

FALL 2016 ADD/DROP AND REFUND DEADLINES

CERTIFICATE Tuition: The noncredit tuition Materials fee: Stated in course description if applicable

Verify the accuracy of your class schedule: You are not registered for and will not earn credit for any course that does not appear on your class schedule. You are responsible for all courses and

Registration fee: $80 per term

charges that appear on the statement/schedule.

Tuition and fees are payable in full at the time

Register early. The class you want might fill or

of registration. Payment can be made by bank debit card or cash (in person only for both), personal check, credit card (MasterCard, Visa, Discover, American Express), or wire transfer.

Please make checks payable to The New School and include the student’s name and (if assigned) New School ID number in the memo section.

Registration is not complete until payment or payment arrangements, such as verification of employer reimbursement, have been made.

Confirmation is the statement/schedule received at the cashier (mailed to students who register online or by fax or telephone).

be canceled because of insufficient registration.

Deadlines: Online, telephone, and fax registra-

DEADLINE TO ADD A COURSE

DEADLINE TO DROP WITH TUITION REFUND

CREDIT STUDENT WITHDRAWAL FOR GRADE OF “W”

Before Nov. 6

Classroom/Online A

15 sessions

Add on or before

Before Sept. 5: 100% refund

(beginning

Sept. 11

Before Sept. 12: 80% refund

Aug. 29–Sept. 2)

Before Sept. 19: 60% refund Before Sept. 26: 50% refund

tions must be submitted three business days

Before Oct. 3: 20% refund

before the class starts. If you miss these deadlines, you can still register in person.

Note for Schools of Public Engagement students: Credit registration for nine or more credits requires prior approval and must be completed in person. Schedule an advising appointment with Academic Services by calling

Classroom

10–15 sessions

Add on or before

Before Sept. 2: 100% refund

(beginning

Oct. 2

Before Oct. 3: 80% refund

Sept. 19–25)

Before Oct. 17: 50% refund

newschool.edu.

Before Oct. 24: 20% refund Online B

9 sessions

Add on or before

Before Sept. 4: 100% refund

(beginning

Sept. 11

Before Sept. 11: 80% refund

ID number (the letter N plus 8 digits): appears

All certificate and credit students can obtain

on your Statement/Schedule. Use this

a photo ID at Campus Card Services,

number for future registrations and corre-

72 Fifth Avenue, lower level. The hours are

spondence with The New School.

Monday, Tuesday, and Thursday, 9:00 am–5:30

Before Sept. 25: 50% refund

pm; and Wednesday, 9:00 am–6:00 pm. There is

Before Oct. 2: 20% refund

ID cards: Upon receipt of payment, noncredit students are mailed an ID card (without

a fee to replace a lost or stolen card.

Before Nov. 20

Before Oct. 10: 60% refund

212.229.5615 or emailing academicservices@

STUDENT ID NUMBER AND ID CARDS

104

COURSE SCHEDULE

Aug. 29–Sept. 2)

Before Oct. 16

Before Sept. 18: 60% refund

Online C

105

photo), valid only for the term in which they

If you withdraw from your courses, The New

are enrolled. If you do not receive your ID card

School may terminate your student privileges,

9 sessions

Add on or before

Before Oct. 16: 100% refund

within two weeks of registration, contact

including access to university buildings and

(beginning

Oct. 23

Before Oct. 23: 80% refund

Student Financial Services at

resources.

Aug. 29–Sept. 2)

Before Nov. 20

Before Oct. 30: 60% refund

sfs@newschool.edu or 212.229.8930.

Before Nov. 6: 50% refund Before Nov. 13: 20% refund

FIND YOUR CLASS LOCATION

Classroom and Online

Online at newschool.edu/registrar: Click on

Some courses meet at off-site locations, as

Schedule of Classes/Location at the lower

indicated in the course description.

right corner of the page. Room assignments can change, so check as close to your class start time as possible.

If your course is online, instructions for logging in to your virtual classroom will be emailed to you.

6–9 sessions

Before 2nd session Before 1st session (full refund)

Before 4th session

3–5 sessions

Before 2nd session Before 1st session (full refund)

N/A

1–2 sessions

Before 1st session

N/A

Before 1st session (full refund)

In person on the day the class starts: Room assignments are posted on the lobby screens in all classroom buildings.

WITHDRAWAL/REFUND POLICY To cancel your registration in a course, you

because of changes in the course schedule

must formally withdraw with the Registrar’s

or instructor.

Office (online, by fax, or in person).

Nonattendance does not constitute withdrawal.

The registration/University Services fee is not refundable unless you are withdrawing

Refund processing takes approximately four weeks.

For more information on refund policy, visit newschool.edu/registrar/registration-policies.

registration, university infOrmation & administrative policies

registration information

University information and Administrative Policies ABOUT THE NEW SCHOOL

In 1919, a few great minds imagined a school

musicians anywhere, Mannes students have

that would never settle for the status quo, one

become world-renowned masters of their craft

that would rethink the purpose of higher

and the canon. Today Mannes has transformed

learning. The New School was the result. Today

traditional conservatory education by integrat-

it is a progressive university housing five

ing our rigorous classical training with new

extraordinary schools and colleges. It is a place

music, improvisation, real-world experiences,

where scholars, artists, and designers find the

and cross-disciplinary projects. Mannes also

support they need to unleash their intellect and

offers a program for adult learners and a preparatory program for young people.

The New School prepares students to under-

the emerging creative economy. We will also

creativity so that they can courageously

stand, contribute to, and succeed in a rapidly

lead in generating practical and theoretical

challenge convention. We dissolve walls

changing society and thus make the world a

knowledge that enables people to better

between disciplines to create a community in

better and more just place. We will ensure that

understand our world and improve conditions

which journalists collaborate with designers,

our students develop both the skills a sound

for local and global communities.

architects with social researchers, artists with

For more information, visit newschool.edu/

activists. Our academic centers in New York

liberal arts education provides and the competencies essential for success and leadership in

mission-vision.

City, Paris, Shanghai, and Mumbai offer over 10,000 students more than 135 undergraduate and graduate degree programs uniquely

ADMINISTRATION

106

THE NEW SCHOOL IN BRIEF

designed to prepare them to make a more just, more beautiful, and better-designed world.

OFFICERS OF ADMINISTRATION

DEANS AND DIRECTORS

David E. Van Zandt, President

Stephanie Browner, Dean, Eugene Lang College

Tim Marshall, Provost and Chief Academic

of Liberal Arts

Officer

Richard Kessler, Dean, Mannes School of Music

Anne Adriance, Chief Marketing Officer

Martin Mueller, Executive Director, School of Jazz

Andy Atzert, Vice President for Distributed and

Pippin Parker, Director, School of Drama

Global Education

William Milberg, Dean, The New School for

Carol S. Cantrell, Senior Vice President for

Social Research

Human Resources and Labor Relations

Joel Towers, Executive Dean, Parsons School

Lia Gartner, Vice President for Design,

of Design

Construction, and Facilities Management

Mary R. Watson, Executive Dean, Schools

Mark Gibbel, Chief Development Officer

of Public Engagement

Roy P. Moskowitz, Chief Legal Officer and

Visit the website at newschool.edu for the

The College of Performing Arts is a progressive

Secretary of the Corporation

university board of trustees as well as informa-

arts center housed within The New School, in

Anand Padmanabhan, Senior Vice President and

tion about administrative and academic offices.

the heart of New York City. Artists receive

Chief Information Officer Linda Abrams Reimer, Senior Vice President for

UNIVERSITY REGISTRAR

Student Services

Alex Carnes, Associate Registrar

Michelle Relyea, Vice President for Student

Alina Baboolal, Interim Associate Registrar

Success

COLLEGE OF PERFORMING ARTS newschool.edu/mannes 55 West 13th Street, New York, NY 10011 212.580.0210

EUGENE LANG COLLEGE OF LIBERAL ARTS newschool.edu/lang 65 West 11th Street, New York NY 10011 212.229.5665 Eugene Lang College of Liberal Arts, part of The New School in NYC, is where scholarly rigor meets intellectual freedom. This small progressive liberal arts college is designed for fiercely independent scholars. Students map out their own curriculum. They immerse themselves in primary texts rather than textbooks, attend small seminars rather than large lectures, work closely with faculty, and become part of a

newschool.edu/jazz

community committed to social justice. Lang

55 West 13th Street, New York, NY 10011

students ask the big questions, challenge

212.229.5896

assumptions, and develop their potential by studying disciplines across our entire university.

newschool.edu/drama 151 Bank Street, New York, NY 10014 212.229.5150

107

PARSONS SCHOOL OF DESIGN newschool.edu/parsons 2 West 13th Street, New York, NY 10011 212.229.8950

individualized training, becoming fearless risk

Parsons School of Design is the only major

takers who value real-world relevance, pursue

design school within a comprehensive univer-

excellence, and embrace collaboration.

sity, The New School. Ranked by Quacquarelli

Celebrated faculty mentors guide students to

Symonds 2015 World University Rankings as

take their place as artistic leaders who can

one of the country’s top art and design schools,

make a positive difference in the world today.

Parsons is at the vanguard of design education,

Donald Resnick, Chief Enrollment and Success

STUDENT FINANCIAL SERVICES

Officer

Barbara Garcia, Director of Student Accounts

Bryna Sanger, Deputy Provost and Senior Vice

Lisa Shaheen, Director of Financial Aid

President for Academic Affairs

Sobeida Santiago, Associate Director of

Tokumbo Shobowale, Chief Operating Officer

Student Accounts

Steve Stabile, Vice President for Finance and

Lisa Banfield, Associate Director of Financial Aid

Drama. Unlike small stand-alone conservato-

Business and Treasurer

Lissette Gonzalez, Associate Director of

ries, our performing art schools offer students

Student Accounts

the valuable opportunity to pursue interdisciplin-

We offer undergraduate and graduate degree programs for musicians, composers, actors, directors, writers, and performers of all kinds through three renowned schools: Mannes School of Music, the School of Jazz, and the School of

ary studies within a comprehensive university.

providing artists, designers, and scholars with the skills they need to devise design-led approaches to complex contemporary challenges—from sustainability to social and economic inequalities to globalization in creative industries. A proven design education methodology produces graduates with a passionate commitment to technical mastery and reflective practice through inquiry, radical ideas, iterative experimentation, and creative

Mannes School of Music

collaboration. In addition to its bachelor’s,

Since 1916, Mannes has been rigorously training

master’s, and associate’s degree programs,

artists to engage with the world around them

Parsons offers general art and design courses

through music. By practicing—day in and day

and certificate programs for students of all ages.

out—with some of the most revolutionary

registration, university infOrmation & administrative policies

University information and Administrative Policies

Parsons offers undergraduate and graduate

Creative Writing Program

degrees at its five schools:

Concentrations in Fiction, Nonfiction, Poetry,

•S chool of Art and Design History

Writing for Children. In less than 20 years, The

and Theory (ADHT) •S chool of Art, Media, and Technology (AMT) •S chool of Constructed Environments (SCE) •S chool of Design Strategies (SDS)

New School’s Master of Fine Arts in Creative Writing has become one of the world’s bestrespected graduate writing programs, attracting promising writers from all corners of the globe who shape the contemporary literary landscape and related industries and have the opportunity

The New School has been regionally accredited

clear quality standards for educational and

by the Middle States Commission on Higher

financial performance.

Education, a federally recognized body (MSCHE, 3624 Market Street, 2nd Floor West, Philadelphia, PA 19104; 216.284.5000), since 1960. All degree programs at the New York City campus of The New School are registered by the New York State Department of Education

•S chool of Fashion (SOF)

to live the writer’s life in New York City.

Students pursue degrees at Parsons’ home

School of Media Studies

York 12234; 518.474.1551). Both NYSED and

campus in New York City and at Parsons Paris.

The media studies programs are based on the

MSCHE provide assurance to students, parents,

belief that media can be a tool for social good.

and all stakeholders that The New School meets

They also gain international experience taking courses online, with partner universities worldwide, or at The New School’s global academic centers in Mumbai and Shanghai.

SCHOOLS OF PUBLIC ENGAGEMENT

(NYSED, 89 Washington Avenue, Albany, New

Parsons Paris is a registered branch campus of The New School and is accredited by MSCHE and the National Association of Schools of Art and Design (NASAD, 11250 Roger Bacon Drive, Suite 21, Reston, VA 20190-5248; 703.437.0700).

In addition, Parsons Paris has the authorization of the French Ministry of Education to operate in France.

For more details, visit newschool.edu/provost/ accreditation.

Students learn to think critically about the history of media and its evolving forms, with the aim of designing solutions to real problems.

They are prepared for careers as media makers, critics, managers, and entrepreneurs able to

HIGHER EDUCATION OPPORTUNITY ACT AND DISTANCE LEARNING The New School monitors developments in state

New Hampshire, New Jersey, New Mexico,

world through critical reflection.

laws in every state. If authorization or licensure

New York, Ohio, Oklahoma, Rhode Island, South

212.229.5615

School of Languages

is necessary or becomes necessary, The New

Carolina, South Dakota, Tennessee, Utah,

School will obtain the required additional

Vermont, Virginia, West Virginia, and Wyoming.

These schools and programs are designed for

The ability to communicate in different

approvals. The New School is currently

Exemptions and authorizations for states not

languages and across cultures is an essential

authorized, licensed, exempt, or not subject

listed are currently in progress. For information

skill in a global economy. The School of

to approval in Alaska, Arizona, Arkansas,

on states that have their own information

Languages offers degree and certificate

California, Colorado, Connecticut, Delaware,

for students enrolling in a New School online

programs in English language instruction

Florida, Georgia, Hawaii, Idaho, Illinois, Indiana,

program, see newschool.edu/provost/

and for-credit, open enrollment, and weekend

Kansas, Maine, Massachusetts, Michigan,

accreditation.

immersion courses in more than a dozen

Mississippi, Missouri, Montana, Nebraska,

newschool.edu/publicengagement 66 West 12th Street, New York, NY 10011

the intellectually curious and creative, at all stages of life and career, who are passionate about social justice around the world. Here students are asked to challenge what others take for granted. We offer innovative graduate and undergraduate programs in media, creative 108

ACCREDITATION

writing, languages/TESOL, international affairs,

interpret and improve our highly mediated

foreign languages.

policy, and management that integrate real-world practice with cutting-edge theory.

Bachelor’s Program for Adults and Transfer Students Designed specifically for adults and transfer students seeking an alternative to the tradi-

THE NEW SCHOOL FOR SOCIAL RESEARCH

be found at newschool.edu/registrar/

16 East 16th Street, New York, NY 10003

academic-calendar.

212.229.5700 In 1933, The New School gave a home to the

bachelor’s program offers flexible study options

University in Exile, a refuge for scholars fleeing

(including part-time and full-time study), a

persecution by the Nazis. Today The New

curriculum tailored to individual goals, and

School for Social Research (NSSR) is an interna-

credit for workplace experience.

tionally renowned graduate school where

Management, and Urban Policy The Milano School offers graduate programs designed for students dedicated to addressing social, economic, environmental, and political issues. Students gain a truly global and multidisciplinary perspective on real-world problems through intellectually rigorous study as well as hands-on experience. This renowned

The university’s academic calendar can

newschool.edu/socialresearch

tional four-year college experience, the

Milano School of International Affairs,

109

ACADEMIC CALENDAR

scholars, practitioners, and innovators guide students to understand the world around them in intellectually intense, heterodox ways. Our interdisciplinary master’s and doctoral degree programs in the social sciences break with traditional modes of thinking. Students develop knowledge through research, become critical and creative scholars, and learn to grapple with the tensions of contemporary society.

UNIVERSITY POLICIES The New School Board of Trustees has adopted

academic community to claim authorship for

a number of policies addressing student rights

his or her own work and only for that work,

and responsibilities, some of which are

and to recognize the contributions of others

summarized below. Other policies address

accurately and completely. This obligation is

sexual and discriminatory harassment, use of

fundamental to the integrity of intellectual

alcohol and illegal drugs, and disciplinary

debate, and creative and academic pursuits.

procedures. The texts of these policies are

Academic honesty and integrity includes

published on the university website at

accurate use of quotations, as well as appropri-

newschool.edu/policies and newschool.edu/

ate and explicit citation of sources in instances

student-rights-and-responsibilities and are

of paraphrasing and describing ideas, or

available in the Office of Student Rights and

reporting on research findings or any aspect

Responsibilities.

of the work of others (including that of faculty members and other students). Academic

school takes advantage of the extensive

ACADEMIC HONESTY AND INTEGRITY

resources available throughout New York City,

Statement of Purpose: Academic Honesty

its celebrated faculty, and its extraordinary partnerships in the private and public sectors.

registration, university infOrmation & administrative policies

and Integrity

dishonesty results from infractions of this “accurate use.” The standards of academic honesty and integrity, and citation of sources, apply to all forms of academic work, including

The New School views “academic honesty and

submissions of drafts of final papers or projects.

integrity” as the duty of every member of an

All members of the University community are

University information and Administrative Policies

expected to conduct themselves in accord with the standards of academic honesty and integrity.

• engaging in other forms of academic misconduct that violate principles of integrity.

Students are responsible for understanding the

(1) multiple instances of academic dishonesty

his/her rights under this policy. If the student

in a single course, (2) repeated instances of

does not respond, and the faculty member

academic dishonesty by a student in different

determines that the infraction is an actionable

courses, and (3) academic dishonesty related

offense, s/he will inform in writing the School’s

to a major culminating work such as a Senior

Designee of his/her determination and include

Exhibit, Master’s Thesis or Doctoral Dissertation.

University’s policy on academic honesty and

Adjudication Procedures

integrity and must make use of proper citations

An administrator or faculty member at each of

of sources for writing papers, creating, present-

the divisions/programs of the University is the

ing, and performing their work, taking

Dean’s designee with responsibility for adminis-

examinations, and doing research. Through

tering the University’s Academic Honesty and

syllabi, or in assignments, faculty members are

Integrity Policy (hereinafter “school designee”).

In cases where the student is taking a course

responsible for informing students of policies

The name of each School Designee is listed on

with a faculty member of a different school, the

with respect to the limits within which they may

the Provost’s Office website.

faculty member’s school designee will inform

collaborate with, or seek help from, others.

Individual divisions/programs may require their students to sign an Academic Integrity Statement declaring that they understand and agree to comply with this policy.

The New School recognizes that the different kinds of work across the schools of the University may require different procedures for citing sources and referring to the work of others. Particular academic procedures, however, are based in universal principles valid in all schools of The New School and institutions of higher education in general. This policy is not intended to interfere with the exercise of academic freedom and artistic expression.

Definitions and Examples of Academic 110

the time required will be deemed to have waived

The steps below are to be followed in order. If the two parties come to agreement at any of

student, syllabi, and course assignments.

the student’s School Designee who will then oversee the adjudication process.

of the instructor’s concern that the student has

School e-mail accounts and/or hard copy, sent

student and allow the student the opportunity

through regular mail or hand delivery, may be

to respond. The student and/or the faculty

Step 3: Review of Faculty Determination and

used and is considered a good faith effort of

member may, on a voluntary basis, request the

Possible Imposition of Sanctions by School

notification on the part of the University. Each

presence of a designated third party from the

Designee

school will follow internal procedures for

student’s school or the University’s student

tracking correspondences with students related

ombudsman. A Third Party is appointed within

to this policy.

each school for this purpose and can assist in

All time frames indicated by days refer to business days that do not include when the University’s administrative offices are closed, including weekends and holidays.

subject to review under this Grade Appeal Policy.

unauthorized materials

A faculty member who suspects that a student

clarifying questions about this policy and its processes, and facilitate communication between the faculty member and the student.

The name of each Third Party is listed on the Provost’s Office website and the School Designee can never also serve as a Third Party. If the faculty member and/or the student elect to have a third party present, the requestor is responsible for notifying the other of his/her decision in advance of the meeting.

During this meeting, the student may either

work and submitting such work to the

with the student. It is expected that the faculty

accept responsibility for the allegations or

university or to scholarly journals, magazines,

member will contact the student within ten (10)

dispute them. Regardless, the faculty member

or similar publications

days after the last day of classes for that

will consult with the School Designee and then

semester in which the alleged incident occurs.

make one or more of the following

If academic dishonesty is alleged on an

determinations:

examination, paper, or creative work due within

1. Indicate that the student has not committed

the last two weeks of classes, the faculty

unpaid sources on the internet as one’s own

member should submit an incomplete grade

original work, or including the information in

until the student can be properly notified and

a submitted work without proper citation

the matter resolved. If grading a major culminat-

approval of all of the faculty members involved

ing work (for example, a Senior Exhibit, final course paper, Master’s Thesis, or Doctoral Dissertation) which may take longer to evaluate, faculty may request an exception to this

• destruction or defacement of the work of others

deadline through the Dean’s office.

• aiding or abetting any act of academic dishonesty

The student must contact the faculty member

•a ny attempt to gain academic advantage by

within ten (10) days of the notification to

presenting misleading information, making deceptive statements or falsifying documents, including documents related to internships

schedule a meeting with the faculty member.

matter has been referred to the Dean for resolution. In such cases, the student may proceed as set forth in the Appeals Procedures.

The School Designee will review the faculty member’s determination and consult, as needed, with appropriate academic personnel.

Based on the faculty member’s determination, the nature of the most recent violation as it relates to past violations, consistency within the division and across the University, and on any other relevant information pertaining to the student’s record at the University, the School Designee may determine that modified sanctions should be imposed on the student that can include, but are not limited to,

Recognizing the importance of the decision for the student, the faculty member and the School Designee will notify the student in writing of the sanction(s) as soon as possible, but not more than twenty (20) days after receipt of the faculty member’s written recommendation. In addition, the School Designee will notify the appropriate offices in the school, the faculty member, the

an infraction of this policy.

2. Indicate that the student has committed an infraction and impose one of the following sanctions:

faculty member’s School Designee (if the course at issue is offered through another school), as well as the Office of the Assistant Vice President for Student and Campus Life.

a. require the student to resubmit the assignment; or

Appeal Procedures

b. give the student a failing grade for that particular assignment; or

If the student is dissatisfied with the outcome of the adjudication procedures, s/he has the right

c. give the student a failing grade for the course.

3. Indicate that the student has committed an

The faculty member is responsible for setting

egregious infraction supporting the recom-

the meeting. This meeting can be in person or

mendation to the Dean that the student be

via telephone. A student who fails to respond in

suspended or expelled. Examples of egregious infractions include, but are not limited to:

registration, university infOrmation & administrative policies

engaged in academic dishonesty and that the

suspension or expulsion.

has engaged in academic dishonesty will meet

course without the knowledge and explicit

or the School’s Designee shall notify the student

member will review the allegations with the

Step 1: Notification to Student

•s ubmitting the same work for more than one

the Step 2 process cannot occur, the instructor

indicated, but the method is not specified, New

another student’s work or by utilizing

•s ubmission of work downloaded from paid or

In the rare and exceptional circumstance where

During the meeting with the student, the faculty

Academic Integrity and Honesty Policy are not

by theft or purchase as one’s own original work

School Designee with his/her determination.

Throughout this policy where correspondence is

Academic dishonesty includes, but is not limited to:

•s ubmission of another student’s work obtained

as well as syllabi and course assignments to the

Step 2: Faculty Meeting with Student

Grades awarded under the University’s

•u sing work of others as one’s own original

The faculty member will send correspondence

the steps, they do not need to proceed further.

Dishonesty

•c heating on examinations, either by copying

copies of the following: correspondence with the

to appeal.

Student’s Right to Appeal The student may appeal the school designee’s decision to the Dean/Director of the School or his/her designee (hereinafter “Dean”). The

University information and Administrative Policies

111

appeal must be in writing and sent within ten

royalty-free, worldwide license to use works

of ideas, however unpopular, and without the

process is accorded to any individual alleged to

(10) days of the decision letter received by the

created by its students and faculty for archival,

assurance that both the presentation and

have interfered with the free exchange of ideas.

student. The student may request that the Dean

reference, research, classroom, and other

confrontation of ideas takes place freely and

convene a meeting of the existing committee

educational purposes. With regard to tangible

without coercion. Because of its educational role

that is responsible for academic standards and

works of fine art or applied art, this license will

as a forum for public debate, the university is

standing, or convene such a committee should

attach only to stored images of such work (e.g.,

committed to preserving and securing the

one not already exist, to review the appeal. No

slides, videos, digitized images) and does not

conditions that permit the free exchange of

member of this committee will have been part

give the university a right to the tangible works

ideas to flourish. Faculty members, administra-

of the appeals process to date. The committee’s

themselves. With regard to literary, artistic, and

tors, staff members, students, and guests are

recommendation will be made to the Dean,

musical works, this license will attach only to

obligated to reflect in their actions a respect for

whose decision is final except in cases where

brief excerpts of such works for purposes of

the right of all individuals to speak their views

the student has been suspended or expelled.

education. When using works pursuant to this

freely and be heard. They must refrain from any

Alternately, the student may waive review by

license, the university will make reasonable

action that would cause that right to be

a committee and request that the appeal be

efforts to display indicia of the authorship of a

abridged. At the same time, the university

reviewed exclusively by the Dean or his/her

work. This license shall be presumed to arise

recognizes that the right of speakers to speak

designee, who will not be the School’s Designee.

automatically, and no additional formality shall

and be heard does not preclude the right of

be required. If the university wishes to acquire

others to express differing points of view.

rights to use the work or a reproduction or

However, this latter right must be exercised in

image of the work for advertising, promotional,

ways that allow speakers to state their position

or fundraising purposes, the university will

and must not involve any form of intimidation

negotiate directly with the creator in order to

or physical violence.

The student’s appeal must be reviewed within fifteen (15) days of receipt. Note that an appeal to the Dean may result in a stricter penalty than that applied by the School Designee. The student must be notified in writing of the appeal decision within five (5) days of the decision. A

obtain permission.

copy of the decision must be sent to the faculty

Beyond the responsibility of individuals for their own actions, members of the New School

member who brought the initial allegations, the

ACADEMIC FREEDOM:

Office of the Assistant Vice President for Student

FREE EXCHANGE OF IDEAS

and Campus Life, and other offices as appropri-

An abiding commitment to preserving and

responsibility entails mutual cooperation in

ate. The Dean’s decision is final, and not subject

enhancing freedom of speech, thought, inquiry,

minimizing the possibility that speech will be

to further appeal, except in cases where the

and artistic expression is deeply rooted in the

curtailed, especially when contentious issues are

decision is either to suspend or expel.

history of The New School. The New School was

being discussed, and in ensuring that due

community share in a collective responsibility for preserving freedom of speech. This collective

Consistent with these principles, the university is prepared to take necessary steps to secure the conditions for free speech. Individuals whose acts abridge that freedom will be referred to the appropriate academic school for disciplinary review.

THE STUDENT RIGHT TO KNOW ACT The New School discloses information about the persistence of undergraduate students pursuing degrees at this institution. This data is made available to all students and prospective students as required by the Student Right to Know Act. During the 2014–2015 academic year, the university reports the “persistence rate” for the year 2013 (i.e., the percentage of all freshmen studying full-time in fall 2013 who were still studying full-time in the same degree programs in fall 2014). This information can be found under the common data set information.

Visit the Office of Institutional Research at newschool.edu/provost/institutionalresearch-effectiveness for more information.

For important information regarding your rights as a student, visit newschool.edu/ your-right-to-know.

founded in 1919 by scholars responding to a 112

Appeal to the Provost A student who has been ordered suspended or expelled from the University because of a violation of this policy may appeal to the Provost or his/her designee (hereinafter “Provost”).

The appeal must be made in writing within five (5) days of receipt of the Dean’s decision.

threat to academic freedom in this country. The University in Exile, progenitor of The New

CAMPUS CRIME STATISTICAL REPORT

School for Social Research, was established in

The Security and Advisory Committee on

current crime statistics can access them through

1933 in response to threats to academic

Campus Safety will provide upon request all

the website for the Department of Education:

freedom abroad. The bylaws of the institution,

campus crime statistics as reported to the

ope.ed.gov/security. A copy of the statistics can

adopted when it received its charter from the

United States Department of Education.

also be obtained by contacting the Director of

State of New York in 1934, state that the

Anyone wishing to review the university’s

Security for The New School at 212.229.5101.

“principles of academic freedom and responsi-

If the Provost decides to consider the appeal,

bility … have ever been the glory of the New

such a review will be limited to: (a) whether the

School for Social Research.” Since its beginnings,

FAMILY EDUCATIONAL RIGHTS AND PRIVACY ACT

adjudication procedures outlined in this policy

The New School has endeavored to be an

were properly followed; and (b) whether the

The Family Educational Rights and Privacy Act

photographs; email addresses; and date and

educational community in which public as well

sanction imposed is appropriate given the

of 1974, with which The New School complies,

place of birth.

as scholarly issues are openly discussed and

nature of the violation, and is consistent with

was enacted to protect the privacy of education

debated, regardless of how controversial or

sanctions imposed across the University in the

records, to establish the right of students to

unpopular the views expressed are. From the

past for similar violations. Note that an appeal

inspect and review their education records, and

first, providing such a forum was seen as an

to the Provost may result in a stricter penalty

to provide guidelines for correction of inaccurate

integral part of a university’s responsibility in a

than that applied by the Dean; i.e. an appeal of a

or misleading statements.

democratic society.

Dean’s decision of suspension could result in the

Students may request that The New School withhold release of their directory information by notifying the Registrar’s Office in writing. This notification must be renewed annually at the start of each fall term.

The New School has established the following

The Family Educational Rights and Privacy Act

The New School is committed to academic

student information as public or directory

freedom in all forms and for all members of its

information, which may be disclosed by the

community. It is equally committed to protect-

institution at its discretion: student name; major

ing the right of free speech of all outside

field of study; dates of attendance; full- or

individuals authorized to use its facilities or

part-time enrollment status; year level; degrees

The right to inspect and review the student’s

invited to participate in the educational

and awards received, including dean’s list; the

education records within 45 days of the day the

activities of any of the university’s schools. A

university receives a request for access.

Under The New School’s Intellectual Property

most recent previous educational institution

university in any meaningful sense of the term

Policy, the university shall have a nonexclusive,

attended; addresses; phone numbers;

is compromised without unhindered exchanges

A student should submit to the registrar, dean,

Provost’s decision of expulsion. The Provost will, within ten (10) days of receipt of the request, make a determination. The Provost’s decision is final.

INTELLECTUAL PROPERTY POLICY

registration, university infOrmation & administrative policies

(FERPA) affords students certain rights with respect to their education records. These rights include:

University information and Administrative Policies

113

head of the academic department, or other

A school official has a legitimate educational

The name and address of the office that

appropriate official, a written request that

interest if the official needs to review an

administers FERPA:

identifies the record(s) the student wishes to

education record in order to fulfill his or her

inspect. The university official will make

professional responsibilities for the university.

Family Policy Compliance Office

arrangements for access and notify the student of the time and place where the records may be inspected. If the records are not maintained by the university official to whom the request was submitted, that official shall advise the student of the correct official to whom the request should be addressed.

400 Maryland Avenue, SW Addendum to FERPA Regulations

Washington, DC 20202-5901

As of January 3, 2012, U.S. Department of Education FERPA regulations expand the circumstances under which education records and personally identifiable information (PII)

EQUAL EMPLOYMENT AND EDUCATIONAL OPPORTUNITY

contained in such records—including Social

Pursuant to federal, state and local laws, The

and educational opportunity at The New School

The right to request the amendment of the

Security Number, grades, and other private

New School does not discriminate on the basis

(including Title VI—equal opportunity regardless

student’s education records that the student

information—may be shared without a student’s

of age, race, color, creed, sex or gender (including

of race, color or national origin; Section

believes are inaccurate, misleading, or otherwise

consent.

gender identity and expression), pregnancy,

504—equal opportunity for the disabled; and

sexual orientation, religion, religious practices,

Title IX—equal opportunity without regard to

mental or physical disability, national or ethnic

gender) may be referred to the following

origin, citizenship status, veteran status, marital

university officials:

in violation of the student’s privacy rights under FERPA.

First, the U.S. Comptroller General, the U.S. Attorney General, the U.S. Secretary of

A student who wishes to ask the university to

Education, or state or local education authorities

amend a record should write to the university

(“Federal and State Authorities”) may allow

official responsible for the record, clearly identify

access to a student’s records and PII without the

the part of the record the student wants

student’s consent to any third party designated

In addition, The New School is committed to

Title IX Coordinator

changed, and specify why, in the student’s

by a Federal or State Authority to evaluate a

complying with Title IX of the Education

72 Fifth Avenue, 4th floor

opinion, it should be changed.

federal- or state-supported education program.

Amendments of 1972 by providing a safe

New York, NY 10011

The evaluation may relate to any program that

learning and working environment for all

212.229.5900 x3656

is “principally engaged in the provision of

students and employees regardless of sex or

titleixcoordinator@newschool.edu

education,” such as early childhood education

gender-identity. Title IX states that no individual

and job training as well as any program that is

“shall, on the basis of sex, be excluded from

administered by an education agency or

participation in, be denied the benefits of, or be

institution.

subjected to discrimination under any education

If the university decides not to amend the record as requested, the university will notify the student in writing of the decision and the student’s right to a hearing regarding the request for amendment. Additional information regarding the hearing procedures will be 114

U.S. Department of Education

provided to the student when notified of the

Second, Federal and State Authorities may allow

right to a hearing.

access to education records and PII without the

The right to provide written consent before the university discloses personally identifiable information from the student’s education records, except to the extent that FERPA authorizes disclosure without consent.

student’s consent to researchers performing certain types of studies, in certain cases even when the educational institution did not request or objects to such research. Federal and State Authorities must obtain certain use-restriction and data security promises from the entities

The university discloses education records

that they authorize to receive a student’s PII, but

without a student’s prior written consent under

the Authorities need not maintain direct control

the FERPA exception for disclosure to school

over such entities.

officials with legitimate educational interests.

A school official is a person employed by the university in an administrative, supervisory, academic or research, or support staff position (including law enforcement unit personnel and health services staff); a person or company with whom the university has contracted as its agent to provide a service instead of university employees or officials (such as an attorney, auditor, or collection agent); a person serving on the New School Board of Trustees; or a student serving on an official committee, such as a disciplinary or grievance committee, or assisting

or partnership status, or any other legally protected status.

Jennifer Francone AVP for Student and Campus Life

program or activity receiving federal financial assistance.” Title IX also prohibits retaliation against individuals who report sex-based or

Carol S. Cantrell SVP for Human Resources and Labor Relations 79 Fifth Avenue, 18th floor New York, NY 10003 212.229.5671 x4900 cantrelc@newschool.edu

gender-based discrimination. The New School

Inquiries regarding the university’s obligations

has adopted policies and procedures to prevent

under applicable laws may also be referred to

and respond to sex or gender-based discrimina-

The Office of Federal Contract Compliance

tion in the form of sexual harassment, sexual

Programs, U.S. Department of Labor, 23 Federal

assault, or other types of sexual misconduct.

Plaza, New York, NY 10278; U.S. Department of

These policies and procedures apply to all

Education, Office of Civil Rights, 32 Old Slip, 26th

members of the university community, including

Floor, New York, NY 10005; or the U.S. Equal

students, staff, and faculty. The New School has

Employment Opportunity Commission (EEOC),

designated a Title IX Coordinator to ensure the

New York District Office, 33 Whitehall Street, 5th

In addition, in connection with Statewide

University’s compliance with and response to

Floor, New York, NY 10004. For individuals with

Longitudinal Data Systems, State Authorities

inquiries concerning Title IX and to provide

hearing impairments, EEOC’s TDD number is

may collect, compile, permanently retain, and

resources for victims and community members

212.741.3080. Persons who want to file a

share without a student’s consent PII from the

who have experienced sex- or gender-based

complaint regarding an alleged violation of Title

student’s education records and may track a

discrimination.

IX should visit the website of the Office of Civil

student’s participation in education and other programs by linking such PII to other personal information about the student that they obtain

Inquiries concerning the application of the laws and regulations concerning equal employment

Rights at the U.S. Department of Education or call 1.800.421.3481.

from other federal or state data sources, including workforce development, unemployment insurance, child welfare, juvenile justice, military service, and migrant student records systems.

USE OF PHOTOGRAPHS BY THE UNIVERSITY The New School reserves the right to take or

engage in joint marketing. Such purposes may

cause to be taken, without remuneration,

include print and electronic publications. This

another school official in performing his or her

The right to file a complaint with the U.S.

photographs, film or videos, and other graphic

paragraph serves as public notice of the intent

tasks.

Department of Education concerning alleged

depictions of students, faculty, staff, and visitors

of the university to do so and as a release to the

failures by the university to comply with the

for promotional, educational, and/or noncom-

university giving permission to use those

requirements of FERPA.

mercial purposes, as well as approve such use

images for such purposes.

by third parties with whom the university may

registration, university infOrmation & administrative policies

University information and Administrative Policies

115

STUDENT LIFE

STUDENT ACCOUNTS AND RECORDS

Changes of Address and Telephone Number

information whenever necessary through

All registered students can access their

authorize parents, guardians, or employers to

Students are responsible for keeping their

MyNewSchool. University correspondence is

current personal student information on the

view your student accounts and make payments

addresses and telephone numbers current with

mailed to the address designated as “official”

Internet through a secure connection. Go to

on charges due.

the university. They can update their contact

or emailed to the student’s New School email

account.newschool.edu to look up your Net ID

address.

and set or reset your password. You will need your New School ID number (N plus 8 digits).

UNIVERSITY RESOURCES AND FACILITIES The New School is located in New York City’s

of building hours, visit newschool.edu/about.

Greenwich Village. For a campus map and a list

LIBRARIES AND ARCHIVES The New School Libraries and Archives offer a full array of resources and instructional services

access to up-to-date records of your student activities, including your enrollment in courses,

addresses and telephone numbers current in university records. They can update this information online at my.newschool.edu as necessary.

the status of your tuition and fees (paid, owed,

Note: All university correspondence will be

refundable), and, if you enrolled as a credit or

mailed to the address designated “official” in

certificate student, your grades. You can also

the student’s record and/or emailed to the student’s email address.

Research Library Consortium Members New York University

TUITION AND FEES

appointments for both students and faculty are

Avery Fisher Center for Music and Media

Payment to the university is the responsibility

to 212.229.8582; mailed to The New School,

available upon request. For information about

Elmer Holmes Bobst Library

of the student. Liability for tuition and fees is

attention Third Party Billing, 79 Fifth Avenue, 5th

not contingent on completing courses, receiving

floor, New York, NY 10003; or brought in person

Library of the Courant Institute of Mathematical

grades, receiving passing grades, or realization

to the cashiering office at 72 Fifth Avenue, on

Sciences

of financial aid awards or loans. Failure to

the second floor.

Cardozo Law Library of Yeshiva University

complete payment does not void your registra-

for students and faculty. Individual research

the New School libraries and the Research Library Consortium of South Manhattan, visit library.newschool.edu.

New School Libraries University Center Library List Center Library Performing Arts Library

The Cooper Union Library New York Academy of Art The New-York Historical Society

Archives and Special Collections 116

Once you log in, click on the Academics tab for

Students are responsible for keeping their own

Payment can be made at my.newschool.edu by ACH or credit card, or by faxing a credit card

Contact Student Accounts at 212.229.8930 with

authorization along with the deferral form to

inquiries about payment of tuition and fees, or

212.229.8582. Payment of all charges is the

email myaccount@newschool.edu using your

responsibility of the student. The student is

New School email account if you have one.

liable for any and all deferred charges that the

Access your personal account information

employer does not pay for any reason. The

online at my.newschool.edu.

student’s liability is not contingent on receiving grades, receiving passing grades, or completing

CANVAS Canvas is the virtual “classroom” used for online

tion or charges due.

my.newschool.edu and selecting Canvas.

and many on-campus courses. Log in by visiting

COMPUTING FACILITIES Students have access to the latest technology

For information on resources available to

in the labs and work spaces. For services,

Continuing Education students, please

locations of facilities and hours of operation,

see page 4.

visit newschool.edu/information-technology.

DEFERRAL OF PAYMENT FOR EMPLOYER Students expecting reimbursement from an

TERMS OF REIMBURSEMENT

employer or sponsor can defer payment of

If the reimbursement will be made upon receipt

tuition and fees by submitting a signed

of grades: There is a participation fee of $150,

authorization letter on official employer/

and the student must complete both the

sponsor letterhead along with the appropriate

Employer Reimbursement Deferment Form and

deferral form(s) as described below. This can be

the Deferral Credit Card Payment Authorization.

done by mail or fax or in person but not by

(These forms can be downloaded from the

email.

website: Go to newschool.edu/student-

The authorization letter must show a current

WIRELESS

date and must include the student’s full name

The New School provides free wireless Internet

visit newschool.edu/information-technology/

access throughout the campus. For information,

wireless-network.

(and, if available, the student’s New School ID number), the amount to be reimbursed, the academic term for which the charges will be covered, the signer’s address and telephone

IT CENTRAL

number, and the specific terms for reimburse-

IT Central is the point of contact for students,

Location: 72 Fifth Avenue, lower level

faculty, and staff requiring assistance or

Telephone: 212.229.5300 x4357 (xHELP)

information on all university computing issues.

Email: itcentral@newschool.edu

Visit newschool.edu/information-technology/ help for hours of operation and to create a support or service request ticket.

ment (either contingent on receipt of grades or else billable upon registration; see below). Any

financial-services and select Billing and Payment.) Payment of the $150 participation fee and any balance of tuition and university fees not covered by the authorization letter must be made before submission of the deferment forms or along with them. Deferred charges must be paid in full by February 1 for the fall semester, June 15 for the spring semester, and August 15 for summer term.

portion of charges that the employer has not

If payment is not contingent on receipt of

agreed to pay cannot be deferred. Certificate

grades and The New School can bill the

and nonmatriculated students must submit

employer directly: There is no participation fee.

these forms with their registration forms.

The student submits only the Employer

Authorization letters and forms should be faxed

registration, university infOrmation & administrative policies

courses.

REIMBURSEMENT

Reimbursement Deferment Form (found on the website; see above) with the employer

University information and Administrative Policies

117

authorization letter. The New School will send

the appropriate school or program website for

number (from your course schedule-receipt).

Office or the date of the postmark if the notice

an invoice for payment to the employer

applicable policies and deadlines.

Submit your signed and dated request in one of

is mailed.

according to the authorization. Payment for any balance due not covered by the authorization letter must be made before submission of the deferment forms or along with them.

the ways listed below: SCHEDULE AND STATUS CHANGES

Please send it from the email address you

due to a change of course schedule or

another, registration for additional courses, and

provided at registration.

instructor or the course is canceled by the

changes of status (e.g., from noncredit to credit)

reimbursement, email myaccount@newschool.edu

must be completed within the deadlines shown

or call 212.229.8930.

in the table on page 105. Transfers from one course to another and changes of status can be

Under certain circumstances, educational expenses undertaken to maintain or improve job skills are deductible for income tax purposes.

Students are advised to bring this to the attention of their tax advisors.

made online, in person, or in writing. (They cannot be made by telephone.) Any additional tuition or fees resulting from a course transfer or status change are payable at the time the change is made.

Schools of Public Engagement certificate students must obtain advisor approval for all

RETURNED CHECK POLICY All checks returned from the bank are automati-

university.

• Fax the form to 212.229.5648.

• Mail the form to The New School, Registrar’s Office, 72 Fifth Avenue, New York, NY 10011.

• Bring your request in person to 72 Fifth Avenue, 2nd floor, New York City.

Please note that we cannot accept requests made by telephone.

•W ithdrawals or refund requests cannot be made by telephone.

•R efunds of fees paid by credit card will be processed as a credit to the same account.

•F ailure to attend classes or notification to the instructor does not constitute official withdrawal. Failure to make or complete payment

The following policies apply:

does not constitute official withdrawal.

• Full refund of course tuition requires advance

program changes, including withdrawals, grade

withdrawal. Otherwise, the refund will be

of “W,” add/drop, and status changes.

prorated—see the Add/Drop table on page 105.

cally redeposited for payment. If, for any reason,

• Refunds are computed from the date and time

•Q uestions? Email reghelp@newschool.edu or call 212.229.5620.

Refund processing takes approximately four weeks.

a check does not clear for payment after being

REFUNDS FOR CANCELED COURSES

deposited a second time, a penalty of $30 is

The New School reserves the right to cancel

charged to the student’s account. The university

courses or to adjust the curriculum. Courses

cannot presume that the student has withdrawn

may be canceled because of insufficient

GRADE OF “W”

from classes because the check has not cleared

enrollment, the withdrawal of the instructor, or

A student taking any course for credit can

the Add/Drop Schedule on page 105. A grade of

or has been stopped; payment and penalty

inability to schedule appropriate instructional

withdraw from the course without academic

“W” will be recorded for the course and will

remain due. Payment for the amount of the

space.

penalty by filing a request for a grade of

appear on the student’s transcript. Deadlines for

If you are registered in a course that is canceled,

“W” with the Registrar’s Office within the

refunds of tuition and fees, described in the

appropriate deadline. Deadlines are given in

same Add/Drop Schedule, will apply.

returned check and the $30 returned check fee must be made with cash, certified bank check, or 118

refundable unless a student’s withdrawal is

Withdrawals, transfers from one course to

For answers to questions regarding employer

TAX DEDUCTION FOR EDUCATION

•T he registration/university services fee is not

• Email the form to reghelp@newschool.edu.

money order; another personal check will not be accepted.

An additional 10 percent penalty is charged if payment for a returned check is not received within four weeks. After a second returned check, all future charges must be paid with cash, certified bank check, or money order. Personal checks will no longer be accepted from the student. If it becomes necessary to forward an account to a collection agency, an additional 10 percent penalty will be charged on the remaining account balance.

CANCELLATIONS, REFUNDS, ADD/DROP, STATUS CHANGES Students are responsible for knowing university

you will be notified by telephone or email. You

the written notice is received in the Registrar’s

119

will be asked whether you wish to transfer to another course or you wish a full refund of tuition and fees (including registration fees).

ADMISSION TO CLASS The New School reserves the right to deny a

The statement/schedule is issued by the Office

If you are a certificate student, consult with your

person admission to or continuance in its

of Student Financial Services upon receipt of

advisor if one of your courses is canceled.

courses of study.

payment. If you register by mail, telephone, or

All persons wishing to attend any course at The

fax, or on the Web, your statement/schedule will

WITHDRAWALS AND REFUNDS:

New School must be properly registered.

be mailed to you. Please retain this form.

CONTINUING EDUCATION

Students should be prepared to show a valid

If you have not yet received your statement/

If you wish to withdraw from a course without

statement/schedule to the instructor or

schedule or have forgotten or lost it, you will be

adding another, log in to online registration at

designated faculty services assistant for

admitted to the class if your name appears on

newschool.edu/ce; click on “Classes” from the

admission to any class. Possession of a current

the class roster. You can access your course

left menu; click the “Browse all noncredit

New School student ID card does not entitle the

schedule online at my.newschool.edu (you will

classes” link; click the “Home” link; log in to your

bearer to attend any particular course or session

need your New School student ID number).

account and click “Manage Registration” to drop

of a course.

the course.

policies regarding adding or dropping courses

Alternatively, you can download and complete

and refund of tuition and fees. The policies and

the Noncredit Add-Drop Form or the Credit

deadlines published in this bulletin are applica-

Add-Drop Form, as appropriate, to transfer from

ble to all certificate and nonmatriculated

one course to another. To drop a course, you can

(noncredit or credit) students. Students matricu-

also download and complete the Continuing

lated in the Bachelor’s Program for Adults and

Education Request to Drop Form, or you can

Transfer Students should consult the website

write a letter to the registrar stating your wish

at newschool.edu/public-engagement/

to withdraw from the course. Be sure to include

bachelors-program. Students taking courses in

your first and last names, your New School ID

other schools of the university should consult

number (or date of birth), and the course master

registration, university infOrmation & administrative policies

CAMPUS SECURITY The New School employs a security staff to

when they occur. The university’s latest crime

monitor and maintain the rights, privileges, and

reporting statistics can be viewed online at

safety of members of the university community

newschool.edu/campus-safety.

and the security of university property. It is assumed that members of the community will comply with security measures such as the checking of ID cards at building entrances and will report incidents to the security staff, if and

University information and Administrative Policies

ADMISSION TO PUBLIC PROGRAMS Tickets to lectures, readings, concerts, and other

Tickets can be reserved in advance with a credit

events are available at the Box Office in the

card (MasterCard, Visa, Discover, American

lobby of the Johnson Building, 66 West 12th

Express), and students and alumni with a valid

Street. Visit newschool.edu/events, call

university ID can obtain free tickets to most

212.229.5353, or email publicprograms@

special events by presenting their ID at the Box

newschool.edu for more information.

Office.

OTHER UNIVERSITY POLICIES

GRADE REVIEW POLICY

3 If the student is not satisfied by the faculty

A student can petition for review of any grade

member’s written explanation, further appeal

within 60 days after the grade was issued.

can be made by a written request to the

Before deciding to appeal a grade, the student

dean’s office for a review of the previous

should first request from the course instructor

communications. An appropriate administrator

an informal explanation of the reasons for

designated by the dean will then convene an

assigning the grade. If the student is not

appeals committee to review the student’s letter

satisfied with the explanation or none is offered,

and the instructor’s response, clarify any

the student can pursue the matter as follows:

outstanding questions or issues, and make a

1 The student submits a formal letter briefly

decision is final.

The Board of Trustees has adopted policies on

other matters. Copies of these policies are

stating objections to the assigned grade directly

Free Exchange of Ideas and Freedom of Artistic

available at newschool.edu/student-rights-and-

to the faculty member, with a copy to the

Expression, Discriminatory Harassment, Sexual

responsibilities and from the Office of Student

department chair or director (or if the faculty

Harassment, Alcohol and Illegal Drugs, Smoking,

Services.

member is the department chair, with a copy to

Final grades are subject to revision by the

the dean).

instructor with the approval of the dean’s office

University-Wide Disciplinary Procedures, and

2 The instructor is required to respond in writing

RECORDS, GRADES, AND ACADEMIC TRANSCRIPTS An official transcript carries the registrar’s

receive academic credit or certificate approval

signature and the New School seal. It docu-

for any course.

ments a student’s permanent academic record

Grades are normally posted within two weeks

at the university. You can request your transcript

after a course ends. Students can view their

online at my.newschool.edu. Transcripts are not

grades on the Internet at my.newschool.edu. A

issued for students who have outstanding debts

student ID number (printed on your statement/

to The New School. For additional information,

schedule and photo ID card) is required for access.

visit newschool.edu/registrar/transcripts.

NONCREDIT RECORD OF ATTENDANCE Noncredit students can request a noncredit 120

recommendation to the dean. The dean’s

record of attendance during the academic term in which they are registered. This record identifies the course and verifies the student’s completion of the course. It is not an academic evaluation and does not provide a course grade.

A noncredit record of attendance must be requested from the Registrar’s Office in writing no later than four (4) weeks before the final session of the course. The written request may be faxed to 212.229.5648 (credit card payment only), mailed, or presented in person at the Registrar’s Office. A separate record is issued for each noncredit course; the nonrefundable fee is $20 per course, which must be paid with the student’s own personal check or MasterCard, Visa, Discover, or American Express card; cash is not accepted. The noncredit record of atten-

I Temporary Incomplete: Indicates failure to complete assigned work.

This mark is given not automatically but only on the request of the student and at the discretion of the instructor. A Request for Grade of Incomplete Form must be completed and signed by student and instructor. The time allowed for completion of the work and removal of the “I” later than the seventh week of the following fall semester for spring or summer term incom-

academic record, and no changes are allowed.

INTERNATIONAL STUDENT AND SCHOLAR SERVICES The New School is authorized under federal law

Services helps international students help

to enroll non–immigrant alien students.

themselves through printed handouts, orienta-

The mission of International Student and Scholar

tions, workshops, and individual advice and

Services is to help international students reach their full potential and have positive experiences at The New School and, in cooperation with other departments, faculty, staff, and the students themselves, to promote diversity and foster respect for cultures from all over the world. International Student and Scholar

support. Before registering, all international students are required to attend an orientation and check in with International Student and Scholar Services to confirm that they have been properly admitted into the United States and to review their rights, responsibilities, and regulations. Visit the website at newschool.edu/studentservices.

SERVICES FOR STUDENTS WITH DISABILITIES accommodations can be made before the start

the university’s philosophy of encouraging all

of the student’s courses. Once a student has

Grades of “I” not revised in the prescribed time

students to reach the highest levels of achieve-

self-identified, a meeting will be arranged to

will be recorded as a final grade of “Z” by the

ment and recognizing and embracing individual

review appropriate medical documentation from

Registrar’s Office.

differences. Student Disability Services assists

a qualified clinician and discuss the student’s

W Official Withdrawal Without Academic

students with disabilities in obtaining equal

needs and concerns. Students who need special

Penalty: Written request must be presented in

access to academic and programmatic services

accommodations, please contact Student

person at the Registrar’s Office by the published

as required by the Americans with Disabilities

Disability Services at 212.229.5626 or

deadline.

Act of 1990 (ADA) and Section 504 of the

studentdisability@newschool.edu.

Federal Rehabilitation Act of 1973. For more

Students with disabilities who feel they have

information about Student Disability Services,

been denied reasonable accommodation should

for any course meeting fewer than four times.

attended or not completed all required work in a course but did not officially withdraw. Faculty

attend any course or session of a course.

Office become a permanent part of the

The Office of Student Disability Services shares

New School bulletin without a course number or

Students must be properly registered in order to

elapsed, all grades recorded in the Registrar’s

spring semester for fall term incompletes.

instructor to a credit student who has not

a course for credit or a noncredit certificate.

or director or the dean, as appropriate.

course was offered. After one semester has

pletes or the seventh week of the following

Z Unauthorized Withdrawal: Issued by an

Grades are recorded for all students registered in

receipt, also with a copy to the department chair

for one semester following the term in which the

mark will be set by the instructor but can be no

dance is not available for any event listed in the

GRADE REPORTING

to the student’s letter within one month of

CHANGE OF GRADE

please visit newschool.edu/student-rights-andresponsibilities.

follow the procedure provided for by the New School Policy for Requesting Reasonable

may also determine a letter grade as opposed

Students who have disabilities are encouraged

Accommodations, available on the website

to “Z” on the basis of student progress and

to self-identify. While there is no deadline by

at newschool.edu/student-rights-and-

attendance in the course. “Z” has no impact on a

which to identify oneself as having a disability,

responsibilities and at the Office of Student

student’s GPA.

early disclosure helps ensure that reasonable

Rights and Responsibilities.

AP Approved (noncredit certificate student)

Attendance in class and/or completion of course

NA Not Approved (noncredit certificate student)

requirements is not the equivalent of registra-

GM Grade Not Reported for Student

tion and will not make a student eligible to

registration, university infOrmation & administrative policies

University information and Administrative Policies

121

courses begin August 29.

Explore all classes and register at newschool.edu/ce.

The information published here represents the plans of the university at the time of publication and does not constitute an irrevocable contract between the student and The New School. The university reserves the right to change without notice any matter contained in this publication, including but not limited to tuition, fees, policies, degrees, programs, names of programs, course offerings, academic activities, academic requirements, facilities,

The New School/Parsons (760-830)

faculty, and administrators. Payment of tuition or attendance at any classes shall constitute a student's acceptance

Volume 33, No. 2, July 2016.

of the administration's rights as set forth above. The New School is an Affirmative Action/Equal Opportunity

Published four times a year, in January,

Institution. For important information including accreditation, student rights, campus safety statistics, and tuition

May, July, and December, by

and fees, visit newschool.edu/your-right-to-know.

The New School, 66 W 12th Street,

Published 2016 by The New School. Produced by Marketing and Communication, The New School.

New York, NY 10011.

Photo credits: David Barron, James Ewing, Jonathan Grassi, Bob Handelman, Martin Seck, David Wanderman.

Periodicals postage paid at New York, NY, and additional mailing offices.

Postmaster: Send address changes to The New School 66 W 12th Street, Suite 705 New York, NY 10011

72 Fifth Avenue New York, NY 10011

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Continuing Education registration now open!

Start exploring and save your spot today at newschool.edu/ce.