DMS 101 A / B
Basic Filmmaking
MW 11-12:50 / TR 9:00 - 10:50 am
Reg. #073143 / Reg #013129
CFA 286 This course is intended to provide a basic introduction to 16mm film
production. Classes will include screenings, lectures, and demonstrations. Students
will learn basic camera operation, lighting, editing, and sound acquisition.
In addition, the course will explore the critical relationship between theory
and practice in the context of film production. Students will be required to
complete collaborative class projects, individual assignments, and a critical
paper. Each student will also be required to complete a short, non-sync, 16mm
film project. Class materials will cost approx. $150. Lab fee: $75. Class size
is strictly limited.
DMS 103 A / B
Basic Video
MW 9-10:50 / TR 11-12:50
Reg.#415001 / Reg.#043670
CFA 286 This course is a basic introduction to the tools and techniques of
video production. Students will become familiar with using video and develop
strategies for its application as an alternative medium of communication. Crucial
to this project is the concurrent development of a critical perspective on mainstream
media culture. Video art screenings and readings in media theory will critically
address the relations between viewers, producers, and the media. Students must
expect to acquire materials and texts costing approx. $50.00 to be used in exercises
in classroom presentations. Access to equipment and editing facilities will
be available. Lab fee: $75. Class size is strictly limited.
DMS 105 A
Basic Documentary
TR 9-10:50
Reg.#292842
CFA 286 This course will present students with the fundamental, theoretical,
creative, and technical concerns of documentary and video production. Students
will be introduced to methods of research, production design, approach to subject,
interviewing and the structuring of information, as well as the technical video
skills of camera work, sound recording, and lighting and editing, as they apply
specifically to the documentary process. The demands of documentary expression
require preparation with a different emphasis from that which applies to the
personal and experimental approaches to filmmaking and video making. Materials
and texts will cost approx. $50. Lab fee: $75. Class size is strictly limited.
DMS 107
History of Film 1
MW 9:00-10:50
Reg.#428186
CFA 112 This course is a survey of American and European films before 1927,
including works by Porter, Sennett, Melies, les Freres Lumieres, Chaplin, Keaton,
Griffith, and Eisenstein. Note that previous training in the study of film literature
is highly recommended (like DMS 109).
DMS 109 A
Introduction to Film Interpretation
MW 1-2:50
Reg. #067509
CFA 112
CANCELLED FOR FALL 2001 This course is a rigorous study of the elements of film as art. Students
will learn to identify various aspects of cinematography, acting, directing,
screenwriting, etc. Screenings will include a range of materials, from classics
("The Great Train Robbery," "Citizen Kane") to contemporary
works.
DMS 121 A / B
Basic Digital Arts
MW 8-9:50 / WF 8-9:50
Reg. #166189 / Reg.#077125
CFA 136 / CFA 232/136 This course will present fundamental concepts and methods that underlie
the use of computers in generating and processing digital works and examine
them in the context of contemporary artistic practice in painting, photography,
film, and video. The impact of computers, both present and potential, on the
more traditional arts will be discussed. Through the use of imaging audio and
presentation software, students will explore the various ways in which computers
deal with images, sound and structures, adapting these methods to produce work
of their own. Work by contemporary artists working in the digital medium will
be shown and examined on a regular basis. The class size is strictly limited.
Lab fee: $75.
DMS 155 A1
Introduction to New Media
T 9-10:50am (LECTURE)
Reg.#<<<<>>>>
R. Cherry
CFA 112 (lec) / CFA 244 (lab)
DMS 155 A2 (lab)
R 9-10:50
Reg.#192205
DMS 155 A3 (lab)
R 3-4:50pm
Reg.#332603 This course provides an introduction to design and the production of
interactive multimedia. The content of the class will focus on the theoretical
and practical aspects of creating and integrating digital media with authoring/presentation
tools. This class will lay the foundation for creating interactive projects
for the web and CD-ROMS, and will integrate art, journalism, and music through
hands-on developmental projects in our new state-of-the-art Mac lab (coming
this summer). Students will learn the process and skills necessary to create
a web site and an interactive CD-ROM which integrates animation, graphic design,
sound, and text, working in Adobe Photoshop, Macromedia Dreamweaver, Flash animation,
Sound Edit 16, and Illustrator. The course will accommodate 48 students. Enroll
now! Get the technological edge! Lab fee $75. Register for one lab section;
you will automatically be registered for the lecture section. NON-MAJORS WELCOME.
NO PRE-REQUISITE KNOWLEDGE NECESSARY.
DMS 213
Immigration and Film
TR 10-11:50
Reg.#036784
Rheingold
CFA 235 http://www.acsu.buffalo.edu/~bsnyder
This course is interested in issues of ethnicity, race, gender, and class in
selected American films. We will examine cinematic representations of immigrants,
paying close attention to social and political constructions of ethnic “difference”
and notions of “the other.” We will discuss films from 3 different
periods: The Silent Cinema (1900-1925); The Early Sound Period (1927-1935);
and Later Sound Cinema (1935-present). The class will consist of assigned readings,
regular class discussion, 2 exams, film screenings, and short response papers.
Films will include: Chaplin’s The Immigrant; Silver’s Hester Street;
D.W. Griffith’s Broken Blossom; Wayne Wang’s Eat a Bowl of Tea,
Rea Tajiri’s History and Memory, among others. Attendance is mandatory.
Non-majors welcome. Fulfills the American Pluralism requirement.
DMS 215 NEV
Programming 4 Multimedia
Reg.#237550
Neveau
MW 1-2:50
CFA TBA This course is specifically designed to introduce students to computer
programming for those students who plan on concentrating in the digital arts.
All intended and declared digital arts students without a background in C++
or Java (or some other computer scripting language) should enroll in this course.
This course is for majors and intended majors in digital arts only.
DMS 217
The Role of the Producer
Reg.#453847
DiPasquale
TR 2-3:50
CFA 112 This course will introduce the student to the world of creating media
for broadcast, cable networks, and feature films within the studio system. The
current Hollywood scene will be a major component of the course.
DMS 221
Web Design
TR 3-4:50
Reg.#151546
Fertig
CFA 242 This course will involve the analysis and creation of Web sites and
Web-based media for a variety of communication purposes (artform, gallery, information
resource, education, business). Topics such as audience analysis, interface
design, graphic design, and usability testing will be discussed. Students will
build professional-quality Web sites with guidance through all parts of the
design and development process. New advancements in Web-based multimedia will
be explored. Class time will be divided between practical labs and discussion/lecture
formats. Because this is a production-oriented course, students will be expected
to spend substantial out-of-class time working on the computer. Prior web design
and html experience are not required, although students should be fully comfortable
with working on a computer. Basic digital is not a prerequisite, but is strongly
suggested. Lab fee: $75.
DMS 301
Film Workshop I
Reg.#006595
Mistretta
TR 2-3:50
CFA 246 (Permission of Instructor)
An intermediate film production course, reviewing and expanding upon concepts
of film production learned in Basic Film. This course, however, is exclusively
devoted to the technical concerns and aesthetic possibilities of 16mm film production.
A variety of approaches to these issues will be explored through 5 structured
projects focusing on camera-less films, exposure techniques, film editing, sound
recording and editing, and the development of individual artistic “style.”
Materials for the first four projects will be pre-packaged by the department
for required purchased by class participants. Students will be responsible for
all materials for the final project as well as film processing throughout the
semester. Students can expect to spend a total of approx. $350 for materials
and processing for the course, including the cost of pre-packaged materials.
Lab fee: $75. This class is strictly limited in size.
DMS 303
Video Analysis
Tony Conrad
MW 1-2:50
Reg.#159339
CFA 112 This course is an introduction to the conceptual and technological
systems which support contemporary work in video. It focuses on current artistic
practices using electronic media and on recent work in this and related fields
which has supported the emergence and critical development of media arts. It
is for the student with an intense interest in the electronic arts as well as
the person whose only contact with video is through television. Classroom activities
will be varied and may include a variety of readings, out-of-class viewings,
presentations, a series of brief papers, and presentations of videotaped material.
Students should plan to buy a reader and/or textbook. Regular attendance is
mandatory.
DMS 305
Film Analysis, Cinema I
Bernadette Wegenstein
Reg.#330930
MW 10-11:50
CFA 235 http://pluto.fss.buffalo.edu/classes/dms/berna/dms305/
The course offers introductory theoretical tools to film analysis. The guiding
questions will regard the representation of reality in film, and the various
possibilities of "reality bleeds." How can reality be described in
film language? To what extent do the codes of reality and film compete with
each other? And why is it that in recent film (and TV) history the concept of
reality is "pushing more and more through the fourth wall?" These
and other questions will be discussed in respect to three cultural/historical
moments. First, Italian New or Neo-Realism, a period around the Second World
War, when Roberto Rossellini and other Italian film directors "recorded
history" through a blur of documentary and fiction. We will also consider
the early work of Pier Paolo Pasolini, who brought the era of Italian Neo-Realism
to an end. Second, the Scandinavian "Dogma Oath," sworn by Lars von
Trier and other Danish and Swedish directors in 1995, with the purpose of capturing
reality with original locations, no artificial requisites, and most importantly
the steady cam-emphasizing the idea of presence. Third and last, we will look
at current "reality bleeds," from Oliver Stone's documentary on JFK
to the philosophical discussions of reality versus virtuality in recent cyperpunk
film to current Reality TV shows. Students will write papers on specific films,
"mocumentaries," or TV shows, or on theoretical aspects of the representation
of reality in film. On Wednesday we will show the films (or excerpts) listed
below. New Realism (Italy): Rome Open City (1945), Paisà (1946), Germany
Year Zero (1947) - Roberto Rossellini, Bicycle Thieves (1948) - Vittorio de
Sica, The Earth Trembles (1948) - Luchino Visconti, Accattone (1961), Mamma
Roma (1962) - Pier Paolo Pasolini. Dogma 95 Films (Denmark, Sweden, USA): The
Celebration (1998) - Mogens Rukov, Thomas Vinterberg, The Idiots (1998) - Lars
von Trier, Mifune's Last Song (1999) - Søren Kragh-Jacobsen, The King
Is Alive (2000) - Kristian Levring. Reality Bleeds (USA, Canada): JFK (1991)
- Oliver Stone; Dirty Pictures (2000) - Frank Pierson, eXistenZ (1999) - David
Cronenberg; The Matrix (1999) - Andy and Larry Wachowsky, The Blair Witch Project
(1999), Book of Shadows: Blair Witch 2, Blair Witch 3 - Daniel Myrick and Eduardo
Sánchez, Survivor Reality TV Show (2001) - CBS; Big Brother (1999) Reality
TV Show (The Netherlands).
DMS 341
Intermediate Video Workshop
Meg Knowles
Reg.#309273
TR 1-2:50
CFA 244
PR: DMS 103, 104, 105, or 106 This course is a workshop in the tools of video. It offers exercises
in intermediate video production for students who have had some previous exposure
to video as a creative medium. The course will emphasize the development of
technical skills and knowledge which are necessary for the effective use of
video as an artistic tool and for documentation or personal expression. The
student will buy at least three videocassettes for use in hands-on assigned
exercise concerning cameras, lighting, editing, and other aspects of production
and post-production. Other topics to be covered are video electronics and staging.
Each student will need to spend a substantial amount of time working with studio,
portable, and editing facilities outside the regular class hours. In addition,
some outside video tape viewing, as well as short papers, will be required.
Readings will include classroom handouts in addition to the assigned textbook.
Total minimum expenses for each student is $50. Lab fee: $75. Attendance is
mandatory.
DMS 343
Digital Video
Debra More
W 6-9:40pm
Reg.#246982
CFA 244/242 Digital Video provides students with an understanding of digital video
production, theory, and practice. The course also provides an overview of the
evolution of digital video, from the '70's to the present use on the Internet
plus the impact of High Definition Television on the video industry. Lab work,
lectures, and guest presentations will give students practical exposure to new
media tools, software/hardware, system configuration, and television broadcast
requirements for digital video. Students are encouraged to work with a variety
of software programs and available in DMS labs, including but not limited to
Adobe PhotoShop, Premier, and AfterEffects, among numerous others. A tour of
UB's supercomputing facility will be provided. Field trips may also include
tours of local television broadcast facilities for an overview of the Avid Media
Composer and Symphony digital editing systems. Students will output their work
to digital video in the process of completing weekly lab exercises. Occasional
written assignments plus a significant digital video project will be required.
Lab fee $75.
DMS 375
Science, Culture,
Paul Vanouse
MW 9-11:30
Reg.#196845
CFA
Call the Art Department for a course description.
645-6878.
DMS 409
Non-fiction Film: Contemporary Documentary
Sarah Elder
TR 12:00-1:50pm
Reg.#190667
CFA 235 This course will examine the development of independent documentary
film and video and will explore the experimental “edges” documentary
makers are exploring today. We will look closely at the representation of American
culture with themes of class, gender, murder, rock stars, popular music, ethnicity,
disability, and history. The class will analyze fundamental constructions of
non-fiction filmmaking including camera work, editing, directing, and the structure
of narrative storytelling. Attention will be given to major issues of non-fiction
media: the documentary myth of truth, objectivity and reflexivity. Particular
focus will be on the curious relationship between reality and the artist’s
images of reality, the moral and ethical considerations of filming real people
and the American love affair with “reality” media. Readings will
explore contemporary and classic non-fiction theory and will accompany each
film. The class will examine different documentary styles including cinema verite,
fake docs, television documentary, and experimental documentary. Finally, we
will look at the thin shifting line between fiction and non-fiction, between
films of “make believe” and films which ask you to believe. Be prepared
to see some great films! Attendance is required with readings, two papers, three
response papers, and one final take-home exam.
DMS 417 DEN
Special Topics: Virtual Communities
M 3-4:50pm
Reg.#370472
Vanessa Dennen
CFA 242
**This is an ON-LINE course** As of August 23, 2001, this course is still open!!
This course will explore the human, environmental and technical factors that
are intertwined to create Web-based communities. Throughout the semester, students
will read about and explore various computer-based virtual communities. Seminar
discussions will focus on what components are necessary to have a "community"
and the technical and social requirements for membership in a mediated community.
As the semester progresses, the class will join and conduct small "experiments"
with these communities. The semester will culminate in a design project in which
students lay the foundations for their own virtual communities. Students should
be comfortable using a computer and the Web. No further technological expertise
is required for this course, although students with Web development skills may
have the opportunity to use them.
DMS 416/516
Visual Modeling/Simulation
M 6:00-9:40pm
Reg.#110718
Jesse Fabian
CFA 242
(Permission of Instructor)
PR: DMS 231 This course will provide students with an advanced understanding of
3D animation principles and how to use digital tools effectively to create great
media pieces. Using Maya, a state-of-the-art 3D modeling and animation software
developed by Alias/Wavefront, students will explore how to best communicate
personality, gesture, expression and movement in course projects. This is a
rare opportunity to gain valuable experience working with a media professional
and 3D animator. Related topics include project management, digital video production,
and other skill areas necessary for fluency in 3D media production. Lab fee:
$75. Class size is strictly limited.
DMS 417 A
Intelligent Agents
TR 1-2:50
Reg.#370472
CFA 242
CANCELLED FOR FALL 2001 Intelligent agents and engines are becoming ubiquitous in software
products: they run games; they help their owners pick stocks or life-partners;
they are integral to some computer-based artwork. This course will briefly sketch
the history of this field: its early promise; the subsequent disillusionment;
the current state. We will touch on the some basic concepts of AI such as the
use of search and genetic algorithms. We will investigate software designers,
game designers and artists; including Patti Maes and the Software Agent's Group;
Christa Sommerer; Laurent Mignonneau & Will Wright. THIS COURSE HAS BEEN
CANCELLED FOR THE FALL SEMESTER.
DMS 415 BOH/515
Information Theories
MW 1-2:50
Reg.#158758
Marc Bohlen
CFA 232 PR: Junior/Senior standing
For Artists and Media Workers
This seminar is an inquiry into the concepts behind information theory. It is
comprised of a technical part in which the fundamentals of Shannon's conception
of information will be analyzed from the vantage point of the mathematician
(Pierce) and the semiotician (Eco). With this knowledge in place we will concentrate
on critical issues within the information processing sciences Hayles/CAE/Winston/Virilio).
The course will end with investigations into the use and potential of information
theory for emerging media arts (Weibel/Druckerey/Wilson/Tufte) and justify the
use of the plural in the title above.Primary Source Material: John Pierce: Introduction
to Information Theory; Umberto Eco: A theory of Semiotics Katherine Hayles:
How we became PostHuman. Paul Virilio: Information Bomb; CAE: Electronic Civil
Disobediance. Additional Source Material: Philip Agre: Computation and Human
Experience; Brian Winston: Media Technology and Society. Martin Heidegger: The
Question Concerning Technology. Peter Weibel/Timothy Druckerey: Net Condition.
Art and Global Media. Edward Tufte: Envisioning Information. Steve Wilson: Information
Arts.
More courses below
DMS 418
Advanced Editing Production
Sarah Elder
Reg.#330190
TR3-4:50
CFA 235 (Permission of Instructor)
Why do cuts work or not work? This production seminar looks at essential principals
of editing and explores the theoretical, practical, and creative editing concerns
of film and video artists. The class is designed for anyone working in narrative
or alternative fiction, documentary, or experimental media either in video or
film. Students will study advanced editing techniques learning how to fine cut
their own work with some practice in creative editing design assignments. We
will explore the nature of an edit, and examples of good cutting. Students will
read essential editing theory including classics by Murch, Eisenstein, Cancyger,
and Hollyn. The class will study and practice pacing, time cuts, rhythm, dramatic
arch, multiple audio tracts, continuity and discontinuity, match cuts, story
building, layering sound FX, editing room management, dialogue editing, anti-narrative,
and the influence of dreaming. Guest editors will also visit and lecture on
their work. Students must have previous editing experience and preferably bring
raw footage or an edited rough cut project on which they would like to work
during the semester. Each student will have different challenges depending on
his/her genre-fiction, experimental, or documentary. Students will work on the
Media 100, and students who wish to can also work on the 8 plate film Steenbeck.
Class size is limited.
DMS 419 A
Advanced Digital Arts Production
Josephine Anstey
TR 10-11:50
Reg.#348463
CFA 242 PR: DMS 121, 122, or Permission of Instructor
This production course will introduce students to the concepts and practice
of programming 2D computer graphics using C++ , OpenGL and the GLUT libraries,
and to a basic sound server. The major focus will be on creating interactive
art experiences by programming both graphics and sound. The course has three
goals: to demystify computer code-we get behind the Graphic User Interface to
the machine below; to explore the potential of programming-writing our own code
means we can create customized computer tools as well as customized visuals;
and to teach the fundamentals of graphics programming.
DMS 419 B
Advanced Digital Arts Production:
“Beyond the Box-Programming with Peripheral Devices”
Marc Bohlen
MW 10-11:50
Reg.#303744
CFA 246
PR: DMS 121, 122, or Permission of Instructor This course will focus on peripheral devices and their use for installation
art work. We will investigate concepts in the programming language C/C++ in
order to control remote devices such as sensors and motors. This course will
be both a traditional programming course and a studio course in using computation
in art practice. Students will be expected to bring in or acquire programming
skills and apply them in the design of installation art work. The peripheral
devices will be limited to a set of (serially connected) servo motors in this
course. Students will work in groups of 3 (max) and design a kinetic installation
piece with the supplied motor kit. Proper programming will be just as important
as diligent craft and design. Book list: Practical C++ Programming; Ones and
Zeros, Understanding Boolean Algebra , Digital Circuits and the Logic of Sets.
DMS 434A/535A
Virtual Tales: Developing a VR Art Project
Josephine Anstey
W 9-12:50
Reg.354869
CFA 266 Virtual Tales is a course designed to bring together students, artists
from the region, and UB faculty to develop a geographically-distributed virtual
reality art experience. The course will have three aspects; an introduction
to existing VR art experiences, artists and issues; discussion of the creative
content of Virtual Tales; and implementation. The course is designed for students
with a background in graphics programming, or for those with a background in
Maya modeling and an interest in modeling for real time applications. The course
will introduce the students to a VR authoring toolkit based on C++ and IRIS
Performer. This system, Ygdrasil, has been specifically designed for large scale
art projects. The toolkit handles a number of activities common to VR environments,
such as assembling objects into a world, collision detection, navigation, and
detecting events and passing messages in response to them. Those without programming
experience can use a textfile to build VR worlds using their own models and
a variety of modules designed to provide interactivity and assign behaviors
to objects. Programmers can extend the system, building their own customized
modules as this production demands. Ygdrasil is a networked system, so at both
the development and exhibition stages, participants can enter the virtual environment
from remote locations. The class will use the equipment and VR systems at CCR
and the Department of Media Study. $75 lab fee.
DMS 435 JD / DMS 535 JD
Narrative Scriptwriting
Joe DiPasquale
W 12-3:50pm
Reg.#139799
CFA 235 This course gives students first-hand experience with all the primary
aspects and stages of preproduction planning (scriptwriting, storyboarding,
and structural diagramming) of a feature film. Script analysis will be a major
component of the course
DMS 450
Film and Development of Contemporary Art
Caroline Koebel
T 6-9:40
Reg.#356441
CFA 232 This interdisciplinary studio course takes "the body"-in
its myriad senses, significations and interpretations-as the basis for aesthetic
and critical inquiry. Course requirements will center on three major projects
realized in the form/media of the student's choice, including performance, digital/cyberart,
installation, video, audio, and text/writing. We will consider how artists and
others position the turn-of-the-millennium body, and the influence of previous
investigations on recent approaches to the corporeal self. A plethora of art
works and writings by the likes of Samuel R. Delaney, Carolee Schneemann, Bob
Flanagan, Lygia Clark, Orlan, and Gina Pane will act as a catalyst for a discourse
and praxis of engagement and vitality. Lab fee: $75
DMS 455 FIN/DMS 518
Medical Visualization
David Fineberg, M.D.
MW 4-6:50pm
Reg.#241136
Alumni 97
Permission of Instructor daf4@acsu.buffalo.edu
CANCELLED FOR FALL 2001 The latest concepts of biotechnology and medical visualization will
be discussed on an introductory level. Emphasis will be placed upon recent technological
advances in the areas of virtual reality, simulation, human interface technology,
computer assisted surgery, medical lasers, and nanotechnology. Independent Research
will be assigned to develop human computer interfaces in surgical simulation
and medical visualization. Focus groups will be formed consisting of students
of media study, engineering, computer science, art, and premedical studies.
Educational Goals and Objectives are to teach students the basics of biotechnology
and medical visualization; to assist students in developing independent research
skills by working in focus groups to design biomedical devices; to provide students
with the opportunity to learn cross-disciplinary aspects of a major field of
study that will enhance overall understanding of that field; to provide students
with access to medical research; and to provide a mechanism for students from
different departments to collaborate on biomedical projects. This is a great
course for Media Study students with an interest in digital visualization and
virtual reality-the career possibilities for such knowledge are endless. No
pre-med knowledge necessary; no programming skills necessary. Power point knowledge
a plus. E-mail daf4@acsu.buffalo.edu for permission.
DMS 461
Cyber Theory: Myths and Meaning(s)
Christine Zinni
TR 1-2:50
Reg.#046297
CFA 242 This is a "bridge" course based on the understanding theory
cannot thrive without being rooted in practice and practice cannot liberate
without theory. The first part of the course will be devoted to a broad socio,
economic, and historical background to the prevailing system of gender representations.
We will pay close attention to how cultures think themselves through the body,
and note how "norms" came into being, have been naturalized, and viewed
as truthful and correct. Focusing on "excess", the "gaze",
and the role of genre convention, we will examine technologies of gender, exploring
links between the Market and the Machine, advertising, corporate power, the
national imaginary and utopian longings. During the second part of the course
we will shift our gaze(s) to "disappearance" of the material body
and consider the specifics of Cyborgism and New Frontiers. Students will do
some close listening and watching of classic cult films and alternative media
productions--starting with Frankenstein and Lang's Metropolis, proceeding to
Longo's "Johnny Mnemonic" "The Matrix," "Existans",
'Lawnmower Man," Stelarc's performances and yes, Spielberg's "AI."
There will be selected readings from the following cultural theorists and feminist
writers: Berger, Ewen, McLuhan, and Ewen, Bakhtin, DeLauretis, Haraway, and
one main coursebook: Technologies of the Gendered Body: Reading Cyborg Women
by Anne Balsama. No prior knowledge of cultural theory is expected or required.
Students will be asked to stay in tune by keeping a notebook of newspaper clippings
related to issues such as control of the body, artificial intelligence, and
cyborgs. A research paper is required as a final project.
DMS 490
Internship
Staff
Variable Credit 1-4
Permission of Instructor Media Study majors have the opportunity to gain variable academic credit
for internships in local and national media production companies, television
stations, cable companies, and media access centers. This is an unpaid internship
available to majors. Guidelines are set by an internship supervisor in collaboration
with a faculty sponsor to provide hands-on practical experience in an on-the-job
training program. For registration info, see Nancy King in 231 CFA.
DMS 499
Independent Study
Staff
Variable Credit 1-4
Permission of Instructor Students may arrange for special courses of study with faculty through “Independent Study.” The instructor will set the guidelines for
the course on an individual basis. It permits the student to study, independently,
in an area where no course is given. Syllabus for Independent Study should be
prepared prior to semester, signed by the instructor, with one copy on file
with the department. For registration info, see Nancy King in 231 CFA. Lab fee
for production work: $75
