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
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Digital Design
12
Graphic Design
14
Fashion Design and Fashion Business
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Fine Arts, Foundation, and Photography
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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.
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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
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Creative Arts and Healing Food Studies
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Languages
96
Management, Leadership, and Entrepreneurship Mannes School of Music
101
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Registration Information
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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
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K
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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
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LIBRARIES Emphasizing the social sciences, the List Center Library is the principal library for New School
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students. The University Center Library houses a rich art and design collection. The College of
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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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plug-in stations for laptops. To learn more about
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get started!
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visit
Hudson creative.adobe.com/plans?plan=edu to river
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tuition from your MyNewSchool account and
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Just download your transcript and proof of
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Adobe Creative Cloud with proof of enrollment.
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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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program, visit the tech help website and access
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the options available to you as part of your directories at newschool.edu/information-
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and Windows workstations, laser printers, and
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campus technology labs, equipped with Mac
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certificate students have additional access to
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or their New School Guest account. Some
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to campus wi-fi through either their New School
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All continuing education students have access
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Broadway
LABS
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WI-FI ACCESS AND TECHNOLOGY
Union Sq W
library.newschool.edu.
noho
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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
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Continuing Education registration now open! Start exploring and save your spot today at newschool.edu/ce.