This course focuses on novels and films from the last twenty-five years (nominally 1985–2010) marked by their relationship to extreme violence and transgression. Our texts will focus on serial killers, torture, rape, and brutality, but they also explore notions of American history, gender and sexuality, and reality television—sometimes, they delve into love or time or the redemptive role of art in late modernity. Our works are a motley assortment, with origins in the U.S., France, Spain, Belgium, Austria, Japan and South Korea. The broad global era marked by this period is one of acceleration, fragmentation, and late capitalism; however, we will also consider national specificities of violent representation, including particulars like the history of racism in the United States, the role of politeness in bourgeois Austrian culture, and the effect of Japanese manga on vividly graphic contemporary Asian cinema.
We will explore the politics and aesthetics of the extreme; affective questions about sensation, fear, disgust, and shock; and problems of torture, pain, and the unrepresentable. We will ask whether these texts help us understand violence, or whether they frame violence as something that resists comprehension; we will consider whether form mitigates or colludes with violence. Finally, we will continually press on the central term in the title of this course: what, specifically, is violence? (Can we only speak of plural “violences”?) Is violence the same as force? Do we know violence when we see it? Is it something knowable or does it resist or even destroy knowledge? Is violence a matter for a text’s content—who does what, how, and to whom—or is it a problem of form: shock, boredom, repetition, indeterminacy, blankness? Can we speak of an aesthetic of violence? A politics or ethics of violence? Note the question that titles our last week: Is it the case that we are what we see? If so, what does our obsession with ultraviolence mean, and how does contemporary representation turn an accusing gaze back at us?

This handout introduces you to four principles for visual design: contrast, repetition, alignment, and proximity.

Students' eyes are opened to the value of creative, expressive and succinct visual presentation of data, findings and concepts. Student pairs design, redesign and perform simple experiments to test the differences in thermal conductivity (heat flow) through different media (foil and thin steel). Then students create visual diagrams of their findings that can be understood by anyone with little background on the subject, applying their newly learned art vocabulary and concepts to clearly communicate their results. The principles of visual design include contrast, alignment, repetition and proximity; the elements of visual design include an awareness of the use of lines, color, texture, shape, size, value and space. If students already have data available from other experiments, have them jump right into the diagram creation and critique portions of the activity.

This mini-unit is an introduction to poetry and can be used in middle school or early high school. Each lesson should take about an hour and covers basic such as: Prose vs. Poetry, Traditional vs. Organic Poetry, poetry structure, figurative language and sound devices, context clues, tone, and meaning. Several examples of poems are provided along with notes, guided practice, and indepent assessments. 

This video segment from Between the Lions uses a line of laughing Lions to help build vocabulary and illustrate the meaning of words that typically challenge young children.

Students learn the value of writing and art in science and engineering. They acquire vocabulary that is appropriate for explaining visual art and learn about visual design principles (contrast, alignment, repetition and proximity) and elements (lines, color, texture, shape, size, value and space) that are helpful when making visual aids. A PowerPoint(TM) presentation heightens students' awareness of the connection between art and engineering in order to improve the presentation of results, findings, concepts, information and prototype designs. Students also learn about the science and engineering research funding process that relies on effective proposal presentations, as well as some thermal conductivity / heat flow basics including the real-world example of a heat sink which prepares them for the associated activity in which they focus on creating diagrams to communicate their own collected experimental data.