“Modern physics has shown that the rhythm of creation and destruction is not only manifest in the turn of the seasons and in the birth and death of all living creatures, but is also the very essence of inorganic matter,” and that “For the modern physicists, then, Shiva’s dance is the dance of subatomic matter.”Capra concludes: “Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our time, physicists have used the most advanced technology to portray the patterns of the cosmic dance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art and modern physics.” -- Fritjof Capra. The Tao of Physics.Â
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Instructor: Dr. Warren Olin- Ammentorp
Contact: 655-7102 [email protected]
Office: 208 Watts Hall
Office Hrs: MWF TTh 9-11 and by appointment
Meets: M/W/F 11:15 AM - 12:10 PM in Coleman B
Description: This course presents a broad introductory survey of non-Western art and art-making, with particular emphasis on figurative sculpture, religious architecture, and decorative arts, from regions such as Africa, India, Southeast Asia, China, Japan, the Islamic world, Native North America, Pre-Columbian Central and South America, Polynesia, and Oceania.
Course work will emphasize discussion, supported by informal and formal analytical work.
Learning Goals: students in this course will get better at:
- recognizing, describing, and understanding art works from various non-Western cultures in terms of their culture, type, materials, techniques, and cultural purpose
- discussing non-Western artworks in terms of broad themes about the purpose and function of art in human societies, and how cultural values are reflected and expressed through aesthetic principles
- understanding why and how an awareness of non-Western art and aesthetic principles can inform our notions of art and beauty
Assigned Work & Expectations
Engagement: 80%
attendance
preparation: journal, discussion cards
participation: discussion cards, contributions to class progress, leadership
Engagement: 80%
Learning Journal: The most important work in this course is your journal -- a collection of sketches, notes, exercises, and other work that represents your consistent and thoughtful exploration of the texts & issues of the course. The core expectations include at least: one two-page “spread” of notes and questions prepared before every course; notes upon every class meeting; and two-page summaries of key theoretical concepts as assigned. Additional notes and heuristic work will improve both the Journal and your work in the course overall.
Daily Cards: Daily cards are an informal but essential component of course learning and participation. Daily cards with discussion questions bridge the gap between reading and class meetings. Daily cards assigned as active learning exercises that connect discussion to quick feedback on learning and comprehension.
Participation: evaluated through attendance, effectiveness in discussions and other group work, and overall contribution to the success of the class.
Midterm and Final Reports: at midterm , and at the end of the term, Â students will write a detailed report, featuring short essay answers, regarding their progress at the course learning goals
General Course Policies
Basic Expectations: Â To pass this course you will need to meet certain basic expectations for attendance, behavior, and work. Â Â
• Fundamentals: You must make a good-faith effort to do all the work listed on this syllabus as a course requirement.  You must attend class regularly, arriving on time, ready to participate in the class work, with the proper materials and with all previously-assigned work completed.
• Class Preparation: In general, college students are expected to spend at least two hours outside of class preparing for each hour spent in class. This applies to our class. Make sure you are fully prepared to participate successfully during class. Â
• Contributions to Class: You must contribute positively to the course by ensuring that everyone present has an opportunity to work and learn.  Shy or not, every student must make an effort to contribute to class discussion in some fashion, whether by taking an active part in discussion, or by collaboration with others.
• Disruptions: Any behavior that disrupts the business of the class (by distracting me or anyone else) is unacceptable. This includes unscheduled trips to the bathroom, except for medical emergencies. Attending class unprepared, sleeping in class, appearing intoxicated in class, or leaving class for an extended period can, and often will, be considered as absences. Classroom violence, including threatening behavior or statements, is a violation of the Student Code of Conduct and will result in immediate expulsion from the classroom and a review of the student’s ability to continue the course.
• Electronic Disruptions: Cellphones, laptops, tablets, or other devices can be important tools — or they can be distracting and disruptive. It’s up to you to know the difference and to manage your pet devices responsibly.
• Conflicts with Class Meeting Times: You are responsible for scheduling appointments and other responsibilities so they do not conflict with this course.  Athletes participating in games must make arrangement with the professor about missing class work before the game takes place.  Students participating in field trips for other classes must obtain permission and make arrangements with the professor about missing class work before the field trip takes place.  Class absences will affect your final grade.
• Finally: Fulfilling these basic expectations does not guarantee a passing grade; it only means that you are qualified to receive a passing grade.  Your work at class assignments will determine your actual grade. Failure to fulfill any of these expectations may lead to consequences including, but not limited to: expulsion from a class meeting, or from the course, or a lowered or a failing grade. Â
Attendance:
Attendance at all class meetings is expected and mandatory. Exceptions can be made in the case of illness or emergencies. It is your responsibility to see the instructor about how to catch up with the class material whenever you miss. Excessive patterns of absence, or more than three absences in a row, will severely affect your ability to succeed in the course. They will directly affect your participation and engagement grade, and will affect your learning.
Informal work that is not turned in because of an absence cannot be made up; formal work that is not turned in because of an absence will receive a grading penalty based on the circumstances; late work due to an unexplained absence longer than three class meetings will not be accepted.
More than three absences will reduce the earned course grade by one third; each subsequent absence will reduce the earned course grade by a further third. Exceptions to this policy will be available only to students who have
Academic Honesty Policy:
Plagiarism will not be tolerated. Â Make sure you know what plagiarism is and how to avoid it. Â Any student who turns in plagiarized work will fail the course. Â A description of plagiarism and other forms of academic dishonesty are to be found on the College website. Go to Academics and click on Academic Policies; then click on Academic Honesty.
Special Needs Students:
If you are a student who requires accommodations in classroom or outside work due to special needs, please notify Cyndi Pratt, Office of Special Services (ext. 7308). Â Make sure your accommodations plan has been filed with the Office of Special Services to ensure that accommodations will be made available. Remember that in order to receive accommodations in any course, you must self-identify yourself to the instructor.
Honors Students: This course is available for honors credit to members of the Honors Program. For further information, see the instructor.
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Michael Richards (American, 1963-2001). [Untitled] (Free F'All), 1997.Â
The Prescient Work of an Artist Killed on 9/11. (Ellen Pearlman. Hyperallergic. September 7, 2016.)
Renee Stout. Fetish #2. 1988. Dallas Museum of Art.Â
“Art That's Valued for What It Can Do.” (Holland Cotter. NYT. 18 June, 1993)
The very fact that minkisi are by definition functional -- only as valuable as the medicine they hold -- places them in a broad category of artifacts that challenge the modern Western notion of art as a privileged realm untainted by utility. Yet while it is true that these objects are valued by their makers more for what they do than for what they look like, visual allure is important to their effectiveness. The more compelling-looking an nkisi figure is, Mr. MacGaffey states in the show's catalogue, the greater its power is considered to be.
Renee Stout. Nkondi.Â
As I child I saw a piece, the Nkisi Nkondi from Congo in the Carnegie Museum of Art in Pittsburgh while I was attending Saturday art classes there as a child. I was immediately drawn to it, even though I did not know the symbolism of the piece. That piece is the seed behind most of my artwork. African belief systems are important in my work and life, and as an African American woman, I am trying to establish who I am so I can be the confident woman I should be. Therefore knowing all of who I am is a big part of my journey and process. [source]
see also:Â
“The Artist as Conjurer of Illusions and Truths” (Jillian Steinhauer. Hyperallergic. December 11, 2015)
As you work in class, as you prepare for class, as you take notes, as you study, please remember to use these questions to organize and focus your thoughts:
EXAMINATION = WHAT DOES IT LOOK LIKE?
what shape is it?Â
what parts or pieces does it have?
does it look familiar? strange? both?
what does it look like?
what does it remind you of?
what might it be saying?Â
IDENTIFICATION = WHAT IS IT?
who made it?
when and where?
what is it for?
what is it made of?
how was it made?
what are the names of its parts?
why is it made like that?
ANALYSIS = WHAT DOES IT MEAN?
why is it made like that?
who was it made for?
what ideas or feelings does it express?Â
what iconographic signs or symbols are being used? how?
what is it saying?
REFLECTION = WHAT MAKES IT BEAUTIFUL?
what values or ideals does it express?Â
what does it teach us about how other people see the world?
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For Friday, 15 March, please write a set of notes comparing Night-Shining White to the Rosa Bonheur painting shown above. You are contrasting the Chinese style of painting with the Western style of painting. The notes should cover as much detail as possible & should show what you know how to do on your own, after practicing this skill in class discussion. I’ll be looking for this exercise specifically when I review notebooks starting the week after break.Â
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the videos below will help with all the major concepts: the main idea, the Buddha’s life, why people become Buddhists today, and how Buddha’s theory of the mind helps solve problems of the identity. Â
1. Robot Buddha explains the Four Noble Truths
2. The Basics of Buddha & BuddhismÂ
3. Pema Chodron explains why she became a Buddhist
5. the Venerable Robina Courtin on Happiness when the Chocolate Runs OutÂ
6. Emma Slade explains her path to becoming a BuddhistÂ
On a card for next class please write three key things you would look for to identify an image as Shiva. For example, how would you recognize that cute Shiva was Shiva and not just some other four-armed being?
Chotoonz Tales of Lord Shiva Episode 1
On a card for next class please write three things you would look for to identify an image as Shiva.Â
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