In this forward-thinking course, we will explore the potential of GPT-4 as a catalyst for extending and enhancing literary consciousness. As artificial intelligence reshapes the landscape of language and literature, we will consider how GPT-4, with its advanced generative capabilities, can serve as a creative collaborator in the writing process, pushing the boundaries of human imagination and storytelling.

Students will engage with a range of texts and theories to better understand the implications of AI in the realm of literary art. We will examine the ethical, aesthetic, and critical considerations of collaborating with AI, while also assessing how GPT-4 can help writers tap into new perspectives, styles, and techniques. Throughout the course, students will work on a series of creative assignments that involve both human and AI-generated content, learning to strike a balance between their own instincts and the generative power of the machine.

By the end of the course, students will not only develop a deeper understanding of the potential for human-AI collaboration in literature but also gain valuable insights into their own creative processes. They will be equipped with the knowledge and skills to navigate and contribute to the ongoing conversation surrounding the role of AI in language art. The course will culminate in a final project, which may be a creative work, critical analysis, or research paper, showcasing the student's engagement with the literary possibilities and implications of the GPT-4 era. Topics to be covered in this course include:

• The history of writing technologies and their impact on human consciousness

• The history and development of GPT-4 and the implications for literature and language art

• Strategies for effectively guiding and refining GPT-4-generated content

• Exploring different genres and forms of writing with AI assistance

• Ethical considerations in human-AI collaboration and authorship

• The future of collaborative writing with advanced AI systems

Elective

This course introduces students to ways of thinking comparatively, through interrogating the very terms "global," "arts," and "culture." What constitutes the "global" and what are the implications of such an all-encompassing framework? For instance, what economic, political, and cultural processes can be understood as global? What forms of art are legible as having global stakes or speaking to universal concerns? Who gets to be part of the "universal" and why? This course will specifically examine the "global" acclaim of films such as Akira Kurosawa's Rashomon (1950), Federico Fellino's 8 1/2 (1963), Alejandro Jodorowsky's The Holy Mountain (1973), Bong Joon Ho's film Parasite (2019), Céline Sciamma's Portrait of a Lady on Fire (2019), and novels such as Toni Morrison's Beloved (1987), and Han Kang's The Vegetarian (2007). Critical Globalisms emphasizes the development of broad theoretical perspectives within which students can analyze their own archive of and interventions in "global arts and culture." The course will run as a seminar with weekly reading assignments, regular writing assignments, and in class discussion.

Elective

Michel-Rolph Trouillot proclaims, The past-or, more accurately, pastness-is a position. Thus, in no way can we identify the past as past. What is the relationship between history and haunting? How does the narration of troubling and troubled memories (or images of the future) draw attention to the gaps, assumptions, and limits of historical representation? Who is granted the power to tell stories and who is worthy of having stories told about them? How might texts, films, and other creative mediums not just represent about the dead, but actually conspire with them? The past has an ever-deepening relevancy to contemporary life, and the intimacies that structure our understanding(s) of the past, present, and future produce powerful terrains for study. This course engages these fraught terrains of historical narration; the absence presence of figures of the past; and the vexed representation of traumatic memory in social life. This course will center a wide range of texts, films, and other modes of cultural production that examine how history, haunting, and memory are contoured by of race, gender, sexuality, queerness, diaspora, colonialism, and temporality. Tacking between historiographic theory and literary, poetic, documentary, and ethnographic accounts of relations with the dead and other uncanny forces, we will wrestle with the silences, gaps, and erasures within particular historical sites and problematize representations of the past. We will pay particular attention to texts that highlight the incoherence and instability of the historical record; engage processes of suspension, seep, and spill; and demand nuance, in-betweenness, and queer temporality from our analyses.

Open to Sophomore, Junior, Senior or Graduate Students.

Elective

 This course will examine cinema as a culture text to be read for its various meanings: formalist through socio-ideological. As such, it will also introduce students to the basics of formalist film analysis, from editing techniques to sound production. We will focus on perhaps the best cultural and cinematic movement for critical inquiry: Surrealist cinema. While cinema was only one of many arts utilized by the 20th century surrealists (in Paris and elsewhere), it was clearly the most fetishized and experimented with of all the various enactments of the movement, becoming the ultimate surrealist “dream” experience as Andre Breton and others commented throughout the movement’s main decades (1920s and 30s). What fascinated the Parisian surrealists was the “otherness” of the cinematic experience, and they approached film as the perfect medium for producing a communion with otherness (alterity) and for subversion of bourgeois European culture that, in their eyes, had left Europe and the World only violence and colonial dominance. Film became, therefore, the link between not only surrealism’s formal experiments but also its decolonial tendencies. Such postcolonial crossroads also intersect with surrealism’s other fascination with otherness: feminism and the subversion of heteropatriarchy. And hence, surrealist film becomes the perfect mode for the critical study of modernisms both in Europe and in the Global South, and for the study of alternative forms of artistic and cultural vision. This course will center its studies upon these frames for a revision of surrealist film: formal experiment, modernisms and decolonial resistance, and radical reworkings of identity. To do so, we will begin with the ending: Afrosurrealism and “Black” surrealism in the Global South, and then work backwards to Parisian Surrealism (and Dada) and its developments particularly in the films of Jean Cocteau and Luis Bunuel. We’ll end the course with a look back “out” at postcolonial surrealisms (Marvelous Realism and Magical Realism) and avant-garde cinema at the crossroads, from American avant-garde to global.

Elective

This course responds to the recent, dramatic increase in the various bans and challenges attempting to dictate what kinds of reading materials are available (especially to young readers) in US educational spaces such as libraries and schools. In 2023, for example, the American Library Association (ALA) reported more than 4,200 challenged book titles, the most ever recorded by the ALA. Of course, book bans, legal challenges, and debates about in/decency are not new: restricting available reading materials as a means of control and as a way of upholding specific social values has been a tactic by those in power for centuries. In this class, we will engage a range of banned books and challenged cultural production from across the twentieth and twenty-first century, as well as academic, creative, and legal critiques of censorship. In particular, we will prioritize books by Black and LGBTQIA+ authors, as they have been disproportionately impacted by recent efforts to ban books in the US. Texts may include, but are not limited to: The Bluest Eye by Toni Morrison, The Color Purple by Alice Walker, Gender Queer by Maia Kobabe, Last Night at the Telegraph Club by Malinda Lo, Fahrenheit 451 by Ray Bradbury. 

This class is designed to follow and build on the skills and topics of RISD’s First-Year Literature Seminar (E101) and is intended primarily for sophomore students. Through a variety of close reading, analytical, research-based, personal, and critically reflective reading and writing assignments, students will continue to develop their voices as readers, thinkers, and writers. Through our engagement with the course’s central texts, we will discuss topics such as power, repression, democracy and authoritarianism, freedom, identity and representation, race and racism, and sexuality and gender.

Elective

This course focuses on Indigenous conceptions of gender and sexuality, centering Native feminisms by privileging the knowledge of Native women, girls, Indigi-queer, and Two Spirit People. With core focuses on memoir, poetics, and felt theory -- which understands the body to be an important site of knowledge formation -- this class aims to draw attention to embodied experience, positionality, and spatiality. The class will foreground relationships between bodies, minds, spirits, and lands as vital methods of knowledge creation and cultural production. We will focus on how Native creators remap and reimagine gender, sexuality, colonial violence, and the relationship between people, kin, communities, temporality, and the land. Authors might include, but are not limited to: Terese Marie Mailhot, Deborah Miranda, Leslie Marmon Silko, Joy Harjo, Leanne Betasamosake Simpson, Tommy Pico, and Joshua Whitehead.

Open to Sophomore, Junior, Senior or Graduate Students.

Elective

The LAS Open Seminar is devoted to the development of undergraduate and graduate degree projects that engage the discipline of literary arts and studies, and involves the writing of a longer, research-based project (thesis, artist's statement, creative work, etc). This engagement may take a variety of different forms, including a direct referencing or interaction with literary texts or issues; a focus on textuality and/or narrativity; a concern with research and the mechanics of writing a longer project. Therefore, as the course title indicates, the seminar has an open structure to accommodate our ability to address and foster each student's interests and concerns. As the semester progresses, we will move from a discussion of texts that introduce key concepts in the framing of interdisciplinary projects to group analyses and the workshopping of each student's project. In the first part of the semester, we will discuss a number of conceptual tenets that will ground our theorization of the artistic process, including issues of intentionality and audience; issues of translation and interdisciplinarity; and the relation of form to content. The second part of the semester will be organized and driven by group analyses of the degree and related written project of each class member.

Elective

This course explores design principles central to landscape architecture. Three interrelated aspects of design are pursued:

1) the elements of composition and their formal, spatial, and tectonic manipulation

2) meanings conveyed by formal choices and transformations

3) interactions of cultural and ecological forces in the landscape.

Estimated Cost of Materials: $250.00

Majors are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture Students.

Major Requirement | MLA-I, MLA-II Landscape Architecture

What do these words mean and what is their relationship to each other in the architectural design disciplines? Each word is packed with complex and evolving meanings that reflect the state of human knowledge about the environments in which we live and in which we intervene. Each word reflects our understanding of systems, physical, cultural and social, biotic and abiotic, as well as our aspirations to conserve, restore, or reshape those systems. Each word is ubiquitous in the contemporary quest to construct a sustainable, resilient future. But do we really understand what they mean? Are they critically interdependent or can they be considered separately? This studio will examine these questions with the twin objectives of establishing an evolving and dynamic understanding of the terms and generating working methods that respond to the complexities of scale encountered in the landscape.

Estimated Cost of Materials: $250.00

Majors are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture Students.

Major Requirement | MLA-I, MLA-II Landscape Architecture

What do these words mean and what is their relationship to each other in the architectural design disciplines? Each word is packed with complex and evolving meanings that reflect the state of human knowledge about the environments in which we live and in which we intervene. Each word reflects our understanding of systems, physical, cultural and social, biotic and abiotic, as well as our aspirations to conserve, restore, or reshape those systems. Each word is ubiquitous in the contemporary quest to construct a sustainable, resilient future. But do we really understand what they mean? Are they critically interdependent or can they be considered separately? This studio will examine these questions with the twin objectives of establishing an evolving and dynamic understanding of the terms and generating working methods that respond to the complexities of scale encountered in the landscape.

Estimated Cost of Materials: $250.00

Majors are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture Students.

Major Requirement | MLA-I, MLA-II Landscape Architecture

This core studio stresses middle scale landscape architectural design. A series of studio problems will explore urban public spaces. Students will endeavor to represent contemporary cultural and ecological ideas in land form. There will be an emphasis on constructive strategies, the use of plants in design and methods of representation.

Estimated Cost of Materials: $250.00

Majors are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture Students.

Major Requirement | MLA-I, MLA-II Landscape Architecture

This final core studio stresses large-scale and planning issues, complex sites, and urban conditions. The city is a living organism which evolves in a particular locale with a particular form due to a combination of environmental and cultural factors. These factors, the forces they represent and the material results of their interaction form, in their interrelated state, what can be called urban systems. The many forces at play within cities-social, cultural, economic, ideological, ecological, infra structural, morphological and visual-combine in various ways to created both an identifiable urban realm and the many sub zones within this. Yet, none of these factors is static and unchanging; and, as a result, urban systems, urban dynamics, and urban identity are likewise in a continuous state of flux. This studio will explore these systems and the complex issues at play in our urban areas and the potential for positive change.

Estimated Cost of Materials: $250.00

Majors are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture Students.

Major Requirement | MLA-I, MLA-II Landscape Architecture

As the scope and objectives of the design disciplines expand and diversify, the ability to implement effective research methodologies has become increasingly critical to position designers to generate and validate new knowledge. This course will survey research methods relevant to the design disciplines that have emerged from the sciences, the social sciences and the arts with special focus on those utilized by landscape architects. Methods we will examine include case studies, descriptive strategies, classification schemes, interpretive strategies, evaluation and diagnosis, engaged action research, projective design and arts-based practices. Students will work individually and in teams to analyze and compare different research strategies, understand their procedures and sequences, the types of data required, projected outcomes, and value by examining a set of projects of diverse scales. Visiting lecturers will present research based design projects. The goal of the course is to provide students with a framework of research methodologies with which they can begin to build their own research based practices.

Majors are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture Students.

Major Requirement | MLA-I, MLA-II Landscape Architecture

This course introduces students to the material properties of wood, metal, stone, concrete and soil. Through material experiments, hand drafted material details, 1:1 construction and material case studies, students will gain experience working with the materials to understand the inherent constraints and opportunities of each material. In addition, a series of field trips will help students understand the geographies of material extraction and the processes of assembly and installation.

Majors are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture Students.

Major Requirement | MLA-I Landscape Architecture

This class will explore the botanical, horticultural and ecological aspects of plants and plant communities. Through lectures and field trips, students will become familiar with the form, physical qualities, identifying characteristics, seasonal aspect, preferred growing conditions, native habitats and ecological function of common plants of New England. In addition, lectures will focus on contemporary ecological theories around disturbance ecology and ecological succession to gain an understanding of how designers can work with these forces to shape landscapes over time.

Majors are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture Students.

Major Requirement | MLA-I Landscape Architecture

This course will explore the use of plants as a design medium while balancing the horticultural considerations. There will be analyses of existing gardens, field trips, and the creation of schematic and detailed planting plans for different types of sites. Topics such as seasonality, texture, color and form will be discussed.

Open to Landscape Architecture Students only.

Registration by the Landscape Architecture Design Department; this course is not available via web registration. Please contact the department for permission to register.

Major Requirement | MLA-I Landscape Architecture

This seminar addresses advanced problems in landscape construction, materials, and site engineering. In this class, students will be asked to apply their knowledge of landscape technologies and materials gained from earlier classes into an abbreviated technical drawing set. Through the drawing set, students will gain an understanding of the different stages of design including; concept development, schematic design, design development, and construction documentation. This project will become the basis for understanding the how details and materials develop and change throughout the pre-construction process.

Enrollment is limited to Landscape Architecture Students only.

Major Requirement | MLA-II Landscape Architecture

This seminar focuses on the ecology, policy and design of freshwater and coastal systems. Through the study of water from the top of the watershed to the coast, this class focuses on the role of designers and allied professionals in the design and management of the dynamic interface between land and water. Through a multi-scalar approach, students will learn about the impacts of urbanization on water quality and coastal ecosystems, current approaches to the restoration of freshwater and coastal ecosystems, storm water management techniques and calculations, and the impact of climate change on water resources.

Majors are pre-registered for this course by the department. Preference is given to Landscape Architecture Students.

Major Requirement | MLA-I, MLA-II Landscape Architecture

As the third course in the History + Theory track, this class will build upon the theoretical foundation and research methods established in previous history and theory courses. Having explored critical approaches to studying the field of landscape architecture, past and present, this course will dive into a more focused throughline within the landscape discipline.
 
Throughout the course, students will be asked to engage with perspectives from within the landscape discipline and adjacent disciplines, such as environmental history, cultural geographies, anthropology, and Native American & Indigenous studies. Then, through group discussion and individual assignments, students will explore how these theoretical frameworks of landscape might be applied to landscape architecture practice and design in urban environments today. Ultimately, the course explores theory as a way to ask: how can landscape architects assert power, what existing structural systems must we engage with as designers, and how can we operate to subvert or change systems of power that we find unjust? Throughout the semester, the seminar will focus on specific themes arranged in thematic groups as explained in more detail in the Course Schedule section.

Majors are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture Students.

Major Requirement | MLA-I, MLA-II Landscape Architecture

This course develops the different levels of dexterity and control in the construction of architectural drawing. The pedagogy allows for students to build a basic understanding of orthographic drawing typologies and traditional drawing methods while preparing them for more complex hybridized drawing methods. A parallel segment of the course addresses freehand representation, developing observation and translation tools necessary to design. Through these multiple approaches, drawing is developed as a tool to transform conceptual ideas into tangible form. The class will be taught as a series of lectures that discuss both why and how we draw accompanied by skill building workshops.

Majors are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture Students.

Major Requirement | MLA-I Landscape Architecture