Sample of Courses


Graduate Level:


Planetary Futures

December 24th 1968, outer space. Williams Anders, a member of the Apollo 8 mission, photographs the Earth rising on the lunar horizon: Earthrise. The picture becomes instantaneously famous, permeating every corner of popular culture. For the first time in its history, humanity can contemplate the unambiguous finitude of its habitat. Thus, a new consciousness is born: this limited planet might not be able to sustain unlimited growth. The expanding occupation of territories and the ruthless exploitation of natural resources, intensified by technical progress and the competitive logic of capitalism, might not lead to global happiness, but to global crisis. In our present this crisis appears to have arrived. Loss, extinction, disaster, catastrophe, seem to define our situation in relationship to the environment, each other, and the other species inhabiting our earth. This workshop will use the space of Montréal and Québec to begin asking how we might imagine, and design, a future earth without escaping or denying the ruins of the one we inhabit? How shall we design and encounter the ineffable without denying history, colonialism, or normalizing violence? What forms of knowledge and experiment might produce non-normative ecologies of care between life forms? How shall we inhabit the catastrophe? This workshop will bring together the disciplines of the arts, humanities, social sciences, and sciences to collectively investigate this question of how we shall inhabit the world in the face of the current ecological crisis and to rethink concepts and practices of environment, ecology, difference, and technology to envision, and create, a more just, sustainable, and diverse planet. The course will include field visits to extraction sites, energy infrastructures, earth science installations, and speculative architecture and design projects.

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Making Sense

This course will be an introductory survey of historical and anthropological methods in the study, narration, and display of visual and media culture. Working with curatorial exhibitions, multi-media projects, and different archives we will explore the relationship between design, art, technology, science, and society. Questions that guide our study will include whether our contemporary forms of attention and economy have a history? How might the study of design, broadly conceived, help us to rethink our present, produce new methods in the social sciences, and critically examine the relationship between technology, media, politics, and governance? How can we explore new methods in ethnography and history that engage these questions? How does one write, and more importantly show histories of sentiments, senses, and technicity? The class will be structured as a lab, and students will be encouraged to experiment with different forms of documentation, media, and data collection as part of their practice. We will also be working with the Parsons Design and Technology Department to develop and use a new digital humanities mapping and data visualization platform.  

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The Eye Through Time

This course will interrogate historical approaches to the study of perception—concentrating on vision and visuality. We will integrate histories of science, art, technology, and media. The course will focus on developing new methods for historical and ethnographic research on topics such as aesthetics, space, design, architecture, and media. The course will be particularly focused on fostering independent student research and projects.   Readings may include such figures as: Rancière, Deleuze, Foucault, Latour, Panofsky, Daston, Gunning, Crary.

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Time, Life, and Matter:

This course is a methodology and research seminar introducing students to contemporary methods in the history, sociology, and anthropology of science, technology, and media. Focusing on the historical study of new political and social formations such as networks, new social movements, and  the environment; readings we will concentrate on three approaches: Foucauldian, Deleuzian, and Deconstructionist. Readings may include: Peter Galison, Lorraine Daston, Bruno Latour, James Siegel, Keller Easterling, Michael Callon, and others.

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Becoming Other:

This course explores how genealogies of time based media might serve as critical tools to think about difference. The focus of the course is two fold: First, to explore methodological approaches to the history of technology, media, and subjectivity. Second, to inquire into the ethical possibility such historical inquiry might offer for rethinking subjectivity, difference, and politics.

Readings and screenings may include Artaud, Walter Benjamin, Michael Taussig, Susan Buck-Morss, Elizabeth Grosz, Jonathan Crary, Michel Foucault, Gilles Deleuze, Paul Virilio, Bruno Latour, Friedrich Kittler, and Alain Resnais, Chris Marker, Harun Farocki, Trinh T. Minh-Ha

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Undergraduate Level:



Introductory Topics in the History of Science

In this class we will be taking up some of the most pressing questions facing society today—from ecology, to technology, to medicine, to genetics—and asking what history can tell us about the present, and how historical study can inform our ability to act upon these issues. Together, we will come to have a better understanding not only of science and society, but also about history. This class is an introduction to why history matters, even to those things that sometimes don’t seem to have a history like our biologies, our bodies, or ourselves. 

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Origins of Contemporary Visual Culture

This course explores a history of vision, visuality, and the screen since the 19th century.  It investigates how machines, life, and knowledge are historically reformulated and organized. The investigation traverses avant-garde art practices, scientific experiments, and factory floors, including new ways to approach the history of representation, media, and the body.

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Cold War/Hot Mediums

This course examined the relationship between technology, subjectivity, and culture between the end of World War II and the present; focusing on tracing the emergence of digital technologies and mapping transformations in the relationship between bodies, machines, and minds.

Topics included : psychopharmacology, the emergence of “information” as the dominant paradigm for both economy and biology, and the legacy of Cold War obsessions with control, communication, and security.

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Feminist Screen Theory

The course was organized around the question: What is the relationship between feminism and the screen? This course is an investigation of this question;  inquiring into what feminism can offer our imagination of media technologies and practices. And how  feminist art and media practice informs, contests, and re-creates the interface.


The course was taught combining histories of science, cinema, and colonialism with contemporary feminist theories of vision and visuality.  This course was the departments introductory general survey to feminist approaches to visual culture.

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