Courses tagged with "Information control" (95)

This class examines how anthropology and speculative fiction (SF) each explore ideas about culture and society, technology, morality, and life in "other" worlds. We investigate this convergence of interest through analysis of SF in print, film, and other media. Concepts include traditional and contemporary anthropological topics, including first contact; gift exchange; gender, marriage, and kinship; law, morality, and cultural relativism; religion; race and embodiment; politics, violence, and war; medicine, healing, and consciousness; technology and environment. Thematic questions addressed in the class include: what is an alien? What is "the human"? Could SF be possible without anthropology?

City to City, as a class, will jump into the complexity of planning in New Orleans, a post-disaster city. City-to-City will ask how a post-disaster city grapple with its ideas of identity, what it is, who it represents, and how it projects its sense of self to residences, businesses, tourists, and to the outside world. In considering its people, how do city planners think about who lives where and why? At the same time, how can city planners celebrate a city's history and its culture and how can these elements be woven into reconstruction? Students will travel from Cambridge to New Orleans over Spring Break to meet and consult with their alumni clients, and continue to work on projects.

This course examines interpersonal and group dynamics, considers how the thoughts, feelings, and actions of individuals are influenced by (and influence) the beliefs, values, and practices of large and small groups. Learning occurs through a combination of lectures, demonstrations and in-class activities complemented by participation in small study groups and completion of homework assignments.

"Creative activity (isn't) the icing on the cake. Human creativity is the cake." (Jerry Hirschberg)

Creativity - "the mastery of information and skills in the service of dreams" (Hirschberg) - is much prized in the arts, science, business and the classroom. What does the creative process look like? Under what conditions does it flourish - what ignites the creative spark? Attempting to answer these questions, this class explores ways creativity has been understood in Western culture: what we prize and fear about creativity and its wellsprings; how writers, artists, scientists and inventors have described their own creative processes; how psychologists and philosophers have theorized it; ways in which creativity has been represented in Western culture, particularly in 20th century films; and creativity in everyday life, including our own lives. Readings include portions of psychologist Rollo May's The Courage To Create, and essays by Joan Didion, John Updike, Alice Walker, Oliver Sacks, and others. In addition, we'll watch video profiles of choreographer Paul Taylor, architect Maya Lin, and jazz musician Dave Brubeck. We'll keep journals in which we note our own observations and reflections on creative process. We will also watch a film together as a class one evening early in the term.

This subject surveys main currents of European cultural and intellectual history in the modern period. Such a foundation course is central to the humanities in Europe. The curriculum introduces a set of ideas and arguments that have played a formative role in European cultural history, and acquaints them with some exemplars of critical thought. Among the topics to be considered: the critique of religion, the promise of independence, the advance of capitalism, the temptations of Marxism, the origins of totalitarianism, and the dialects of enlightenment. In addition to texts, we will also discuss pieces of art, incl. paintings and film.

The Great Depression and World War II permanently changed American politics and society. Topics include: the Great Crash, the New Deal, Roosevelt, the home front, the Normandy Invasion, and the atomic bomb. Explores those events through film, novels, newspapers, and other historical documents.

This class investigates theory and practice of digital or new media poetry with emphasis on workshop review of digital poetry created by students. Each week students examine published examples of digital poetry in a variety of forms including but not limited to soundscapes, hypertext poetry, animation, code poems, interactive games, location-based poems using handheld devices, digital video and wikis.

Advances in cognitive science have resolved, clarified, and sometimes complicated some of the great questions of Western philosophy: what is the structure of the world and how do we come to know it; does everyone represent the world the same way; what is the best way for us to act in the world. Specific topics include color, objects, number, categories, similarity, inductive inference, space, time, causality, reasoning, decision-making, morality and consciousness. Readings and discussion include a brief philosophical history of each topic and focus on advances in cognitive and developmental psychology, computation, neuroscience, and related fields. At least one subject in cognitive science, psychology, philosophy, linguistics, or artificial intelligence is required. An additional project is required for graduate credit.

The goal of this seminar is to have open discussions of controversial political and social issues and raise awareness of current world events in an informal setting. Discussions for the first part of each class will focus on current events from that week, while in the second part of class students will discuss a scheduled issue in greater detail. Scheduled issues include the wars in Iraq and Afghanistan, the regulation of marijuana, how our society should punish criminals, genocide in Rwanda and Sudan, discrimination in our society today, the future of social security, whether pornography is sexist, and where we can go from here in the Arab/Israeli Conflict. Discussions will be supplemented by readings, films, and public speakers. Students will also be encouraged to read news media from around the world.

This class introduces students to the methods and perspectives of cultural anthropology. Readings emphasize case studies in very different settings (a nuclear weapons laboratory, a cattle-herding society of the Sudan, and a Jewish elder center in Los Angeles). Although some of the results and conclusions of anthropology will be discussed, emphasis will be on appreciating cultural difference and its implications, studying cultures and societies through long-term fieldwork, and most of all, learning to think analytically about other people's lives and our own.

This course does not seek to provide answers to ethical questions. Instead, the course hopes to teach students two things. First, how do you recognize ethical or moral problems in science and medicine? When something does not feel right (whether cloning, or failing to clone) — what exactly is the nature of the discomfort? What kind of tensions and conflicts exist within biomedicine? Second, how can you think productively about ethical and moral problems? What processes create them? Why do people disagree about them? How can an understanding of philosophy or history help resolve them? By the end of the course students will hopefully have sophisticated and nuanced ideas about problems in bioethics, even if they do not have comfortable answers.

Culture, Embodiment, and the Senses will provide an historical and cross-cultural analysis of the politics of sensory experience. The subject will address western philosophical debates about mind, brain, emotion, and the body and the historical value placed upon sight, reason, and rationality, versus smell, taste, and touch as acceptable modes of knowing and knowledge production. We will assess cultural traditions that challenge scientific interpretations of experience arising from western philosophical and physiological models. The class will examine how sensory experience lies beyond the realm of individual physiological or psychological responses and occurs within a culturally elaborated field of social relations. Finally, we will debate how discourse about the senses is a product of particular modes of knowledge production that are themselves contested fields of power relations.