Updated Spring 2018 Course Descriptions

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Literature, Media, and Communication 

 Spring 2018  

Course Descriptions 

 

LMC  2050  29130 Lit, Media, Comm Seminar    Instructor:  Santesso         
(TR 1:30-2:45  Skiles 169)   Course restricted: Only LMC majors. 

 

 
LMC Seminar: Utopia and Dystopia 

In this seminar, we will trace the history of utopian thought (particularly in literature, but also in film, architecture, and other fields), and consider the emergence of dystopian cultural work as a response. What relationship does utopian literature or film have to real-world utopian projects? What is the future of utopian work and thought? And why does every single movie franchise have to be “dystopian” these days? We will read works ranging from More’s Utopia to present-day science fiction, along with a range of film and digital works. 

 

 

LMC  2050  29130 Lit, Media, Comm Seminar    Instructor:  Senf         
(TR 3:00-4:15  Skiles 314)   Course restricted: Only LMC majors 

 

 
This course introduces second-semester majors to the six threads on which LMC majors can focus and to both primary and secondary research. The class will begin with an intensive study of Bram Stoker’s Dracula (literature, social justice, and science, technology, and culture) and to the various media in which it has been adapted. Students will then move into the more active study of social justice as it impacts Atlanta and the campus and will be encouraged to present their findings in ways that encourage exploration of communication practices and design. 

 

 

LMC 2300: Intro to Biomed and Culture  Instructor: Lagos 
   
 

 

LMC  2400  Intro to Media Studies      Instructor:  D. Wilson         
(MWF 10:10-11:00  Skiles 169)   Course restricted: Only LMC majors 

 

 
 

 

LMC  2500  Intro to Film  Instructor:  Zinman         
(TR 1:30-2:45  Skiles 371)       Screenings: T 3-5  Skiles 002 
This course provides students with a number of approaches—formal, historical, and theoretical—with which to analyze cinematic form and to understand how moving images make meaning. The class begins by examining cinema’s formal elements (cinematography, editing, mise-en-scène, sound) in order to establish the necessary terminology required for the analysis of film. We then turn to the conventions and critiques of Hollywood narrative filmmaking, considering issues of genre, authorship, and ideology, before considering some alternatives (avant-garde, art cinema, other national cinemas, documentary) to dominant Western film styles. The class concludes by interrogating the quickly shifting status of the moving image in the digital age, and asking what these technological changes might indicate for cinema’s future. 

 

 

 

LMC  2500  Intro to Film  Instructor: Dalle Vacche            
(TR 8:00-9:15am  Skiles 371)     Screenings T 3-5   Skiles 371 
 

 

LMC  2600  Intro to Perform Studies         Instructor:  Auslander        
(TR 12:00-1:15pm  Skiles 308)   
The premise of Performance Studies, an academic discipline that has grown exponentially since the late 1960s, is that performance is a fundamental category of human (and perhaps not just human) activity not limited to the performing arts. Nevertheless, the institutional and aesthetic roots of at least one central branch of Performance Studies are in the theater, while others derive more from the disciplines of Speech, Oral Interpretation, Ethnography, and Communications. Nevertheless, for most people, as for many of the founders of Performance Studies, acting is the default model for performance, the thing we probably think of first when the concept of performance is raised. This edition of LMC 2600 will begin with a consideration of acting, perhaps the activity most people most readily associate with the idea of performance. Departing from this base, we will work toward a more general understanding of performance as a category of human behavior that extends, literally and metaphorically, beyond the arts into such activities as rituals and ceremonies, and into everyday life itself. Assignments include tests, a written performance analysis, and group performance assignments to be prepared outside of class time and presented in class. 

 

LMC  2661 Theatre Production I        Instructor:  Foulger         
(SUN 1:00-5:00pm  TBA)      
 

 

LMC  2662 Theatre Production II        Instructor:  Foulger         
(SAT 1:00-5:00pm  TBA)     
 
 

 

LMC   2720    Prin of Visual Design       Instructor:  Kozubaev                   
(TR    3:00-4:15pm  Skiles 357)   
Studio-based course that provides students with basic skills needed to create digital visual images and to analyze designs from historical and theoretical perspectives.
Students will be given design problems growing out of their reading and present solutions using Photoshop, Illustrator, Flash, and 3DstudioMax or similar 3D application. Students will also examine visual experience in broad terms, from the perspectives of creators and viewers. The course will address a number of key questions including: Why is the act of drawing considered by numerous disciplines to be a cognitive and perceptual practice? How do images produce significance or meaning? What is the role of technology in creating and understanding images and vision? What is the difference between the intention of the creator and the interpretations of the viewers? How do images function as a “language”? 

 

LMC   2720    Prin of Visual Design       Instructor:  Peer                
(MWF 10:10-11:00 Skiles 357)  

Course restricted: Only CM LMC majors. 

 

 
Studio-based course that provides students with basic skills needed to create digital visual images and to analyze designs from historical and theoretical perspectives.
Students will be given design problems growing out of their reading and present solutions using Photoshop, Illustrator, Flash, and 3DstudioMax or similar 3D application. Students will also examine visual experience in broad terms, from the perspectives of creators and viewers. The course will address a number of key questions including: Why is the act of drawing considered by numerous disciplines to be a cognitive and perceptual practice? How do images produce significance or meaning? What is the role of technology in creating and understanding images and vision? What is the difference between the intention of the creator and the interpretations of the viewers? How do images function as a “language”? 

 

LMC  2730  Construct-Moving Image     Instructor:  Freeman                 
MWF 12:20-1:10 Skiles 357) Course restricted: Only CM majors.   
 

 

LMC  2813   30881 Special Topics in STAC       Instructor:  Appel-Silbaug   

 

Course restricted: Permit required to schedule this course. Contact HP for permit. 

(TR 9:30-10:45am  323   Clough Commons)  Honors Program students only. 

Ethnography of Interfaith GT 

 

LMC  3104  Age Scientific Discovery    Instructor:  Wood         
(TR 12:00-1:15  Skiles 314)    

 

 
 

 

LMC  3112  Evolution & Industrial Age          Instructor:   Senf              
(TR 1:30-2:45pm   Skiles 308) 

 

 
This class focuses on the rise of industrialism and colonialism in the nineteenth century and connects later nineteenth-century scientific and technological concepts and discoveries, particularly theories of evolution, to the fiction and poetry of the long nineteenth century. Students will read from the works of Charles Darwin and his contemporaries and analyze the representation of science and technology in short stories, novels, poetry, and scientific prose. Discussion will focus especially on how science and social values overlap, particularly in narrative representations of ethnicity, gender, and class. 

 

 

LMC  3114  Sci, Tech & Modernism        Instructor:   Leland            
(MWF 12:20-1:10pm Skiles 317) 

 

 
We examine a cross-section of the cultural/political/scientific ferment in the West in the first part of the 20th century—a time of general cultural paradigm crisis provoking new forms and models, new languages and dialects, as it were, for representing and making sense of the experience of modernity. The course materials are a mix of theoretical essays, scientific writings, and elite and popular artistic works. The material can be challenging (both in quality and quantity) but I think you will often find it exciting. Learning Outcomes: Students will have an informed sense of the intricately complex ways in which modern technology, modern science, modern political economy, urban concentrations of population, and modern warfare (WWI) affect and influence psychological and cultural contexts. 

 

 

LMC  3202   Studies in Fiction           Instructor:   Yaszek            
(TR 3:00-4:15pm  Skiles 317) 

 

 
Studies in Fiction: Global Science Fiction 

 

This class will explore science fiction (SF) as a variety of texts that enable people to talk about their experiences with science and technology across centuries, continents, and cultures. In the first unit, we will explore the history and critical vocabulary of science fiction as it has developed in Europe and the United States over the past two hundred years. In the second unit, we will examine the transition from nationally- to globally-oriented science fiction through a case study of black speculative fiction, beginning with nineteenth-century African American alternate histories and extending to present-day African science fiction. In the third and longest unit, we will continue our study of science fiction from around the globe, including tales from South America, India, Russia, China, Japan, and the Middle East. 

 

 

LMC  3204  Poetry and Poetics       Instructor:  Leland            
(MWF 1:55-2:45pm  Skiles 317) 

 

 
What makes poetry different from other uses of language? Mostly, it is a matter of technique: poetry is more intricately patterned than prose. The patterns may be sound patterns (rhyme, rhythm and the like) or semantic patterns, patterns of meaning such as metaphor or image or allusion, or they may be visual patterns (lines, stanza shapes etc.). Often a poem will be patterned in all these ways, and more! More than emotional intensity or philosophical depth, this is what makes a poem a poem.  

 

When I turn to the one I love and say “I love you,” that may signify a most profound and important feeling. But it is not a poem.  

 

When I say: “I love you like October light  

loves heathered hills,  

loves slopes with wildflowers gone over,  

loves little yellow leaves,  

like flakes of light,  

that drift down shadows, and trees  

turning, half-undressed, 

to meet its gaze.” …that’s a poem.  

And we can think about and talk about how that poem works, or doesn’t work. In this class we will study and analyze some of the practices of poetic pattern-making in English. We will regularly write, read, and talk about (anonymously) our own poems too. There will be a steady practice of reading— poetry mostly, and thinking about what you have read, and trying to express your thinking both verbally in class and in written form. You will also probably produce a fairly steady stream of writing, both creative writing and analytical writing. 

 

 

LMC  3204  Poetry and Poetics         Instructor:   Lux               
(F 3:00-5:45pm Skiles 343) 

 

 
This class centers on the pleasures of reading poetry. Students from all backgrounds are invited to join this discussion-based class in which we will deepen our appreciation of the art form. Assignments include several short papers and a daily poetry journal. Attendance at Poetry@Tech readings is required. 

 

 

LMC  3206  Communication & Culture  Instructor:  Leibert          
(TR 9:30-10:45am  Skiles 346) Course restricted: Only CM LMC majors. 

 

 
 

 

LMC  3208  African-Amer Lit/Cult         Instructor:  Morris           
(TR 1:30-2:45pm  Skiles 311) 

 

 
Contemporary Black Women Writers 

 

This course focuses on the canon of contemporary Black literature by exploring how Black women write about what it means to be Black and a woman in the twenty-first century, particularly in the era of #BlackLivesMatter and #SayHerName. We will examine contemporary Black literary and cultural movements through an exploration of fiction, film, drama, poetry, and nonfiction, while paying close attention to the various historical and social contexts the works influence and emerge from. Expect to read such authors as Nicole Dennis Benn, Brittney Cooper, Tayari Jones, Janet Mock, and Natasha Tretheway, among others. 

 

LMC  3210  Ethnicity American Cult         Instructor:   Farooq            
(TR 9:30-10:45am Skiles 317) 

 

 
 

 

LMC  3214  Science Fiction             Instructor:    Morris           
(TR 3:00-4:15pm Skiles 308) 

 

 
Afroturst Feminism 

Afrofuturism, a term that refers to the ways in which Black cultural producers participate in shaping the future through the melding of art and technology, is a vibrant and rapidly expanding field of cultural production and critique. Jean-Michel Basquiat, Octavia Butler, Sun Ra, and Ishmael Reed are just some of the most recognizable figures of Afrofuturism—as their art, music, literature have expanded the boundaries of how we understand Black art and culture, particularly in reference to futuristic themes and discourse. We will pay particular attention to the transgressive literary stylings of Black science fiction and fantasy and the ways in which Afrofuturism reflects the complicated politics of envisioning the future. Expect readings from authors such as Octavia Butler, Samuel Delaney, N.K. Jemisin, Victor LaValle, Nnedi Okorafor, and Kai Ashante Wilson, among others. 

 

 

LMC  3215   Science Fiction Film TV  Instructor:  Telotte           
(TR 9:30-10:45am  Skiles 368) 

 

Screenings: T 3:00-5:00pm  Skiles 368    
This course explores how a specific genre works and what happens when it crosses conventional media boundaries. The course focuses on science fiction as it has developed during film history and as it has gradually become a popular form of television narrative. The course initially looks at how we define and distinguish different genres, how they share elements, and how they function culturally. It then examines how these generic characteristics developed from silent film to the present, and it considers several popular television series to determine what the various media versions of the genre share and how they differ. Our goal is threefold: to better understand how a particular genre works, to gain a sense of media science fiction’s history and themes, and to see how it is inflected by the two of the media in which it has found great popularity. Students attend weekly screenings, read material on genre and science fiction, and discuss the films, television episodes, and readings. Grades depend on two tests, a comprehensive final, an oral/written report, and a research paper. 

 

 

LMC  3219  Literature & Medicine     Instructor:   Hassan            
(TR 9:30-10:45am Skiles 308)   
 

 

LMC  3225  Gender Study-Disciplines    Instructor:  Pollock           
(MWF 11:15-12:05pm Skiles 370) 

 

 
This course explores the concept of gender and its usefulness as a theoretical category in a variety of disciplines. We will consider how gender matters in disciplines of engineering, and will include particular attention to LGBT issues. We will start with foundational conceptual and historical concerns, and then turn to issues in engineering education and engineering as a profession. Guest lectures by faculty from three engineering fields (electrical, civil, and biomedical) will provide additional context. Throughout the semester, students will work in groups to do research projects on a particular engineering sub/field of interest to them. Preparatory assignments will build toward a final research report on how gender matters in that particular engineering discipline. 

 

 

LMC  3226  30595 Major Authors               Instructor:  Fontaine          
(MWF 12:20-1:10pm  Skiles 371)   Major Author: David Foster Wallace 
 

 

LMC  3226   27931 Major Authors               Instructor:  Crawford                  
(TBA)   Major Author: Melville 
Major Authors: Herman Melville and the American Encounter with the South Pacific Islands— Taught in the New Zealand as part of the Pacific Program 

 

Although best known for his whaling novel, Moby-Dick, Herman Melville began his career as a travel writer, producing several romances based on his experiences in the South Sea islands during the first part of the 19th century.  In some ways, this work could be considered proto-cultural anthropology and his observations approach the level of natural history. These books reflect on many of the questions that remain troubling even today:  the relation between so-called primitive and civilized societies, the ecological responsibilities of natives and explorers, and the function of science and technology in mediating and representing encounters between these disparate groups. This course will examine these issues as they are represented in two of Melville’s novels: Typee, and Moby-Dick, some of his shorter stories, and supplementary texts including readings in Darwin’s Voyage of the Beagle, background on the 19th Century whaling industry, and discussions of 19th century meteorology and cartography. Specific assignments will be linked to visits the museum of New Zealand “Te Papa Tongarewa” the Wellington Maritime museum, and the National Tattoo Museum of New Zealand. 

 

 

LMC  3234  26955 Creative Writing            Instructor:  Denton           
(MW 8:00-9:15am  Swann 325) 

Course restricted: Permit required to schedule this course. 

Contact travis.denton@lmc.gatech.edu w/gtid for permit 

 

 
 

 

LMC  3234  27902 Creative Writing-Screenwriting  Instructor:  Reilly                     
(MW 9:30-10:45am Skiles 343)  

Course restricted: Permit required to schedule this course. 

Contact jc.reilly@lmc.gatech.edu w/gtid for permit  

 

 
This semester’s creative writing class will focus on screenwriting, and students will write scripts for several 3-5 minute short films, which will then be “optioned” to be filmed in LMC 3406 Video Production in a subsequent semester. We’ll do writing exercises geared to developing character, plot, conflict, genre, story, etc., as well as learning to use script writing software, reading some scripts for inspiration, “recreating” film scripts based on what we see on screen, adapting stories for the screen, sharing scripts for peer review, critiquing current films, and possibly watching film clips as appropriate. The class is fun, but writing and drafting intensive. No previous creative writing experience is necessary–just an interest in writing and films! 

 

 

LMC  3248  Poetry & Digital Culture      Instructor:   Frazee            
(TR 12:00-1:15pm  Skiles 371) 

 

 
 

 

LMC  3252  Film and Television        Instructor:   Wood              
(TR 1:30-2:45pm Skiles 368)  Screenings: TH 3:00-5:00pm Skiles 368    
 

 

LMC  3253  Animation                 Instructor:  Madej        
(MW 9:30-10:45am  Skiles 308) 

 

 
 

 

LMC  3254  Film History             Instructor:  Wang              
(MW 8:00-9:15am Skiles 371)    Screenings: M 4:30-6:30pm   Skiles 371 
This course offers a historical survey of world cinema by tracing from the very beginning of cinema’s invention to contemporary international co-productions in the 21st century. Decade by decade, we will follow cinema’s development in terms of historical and cultural contexts, technology, industrial practice, and major movements, genres, themes as well as directors. Accompanied by lectures, screenings, readings, and discussions, students will view, assess, and understand canonical films from around the world in relation to their historical, industrial and cultural backgrounds. 

 

LMC  3256  Major Filmmakers           Instructor:  Wang              
(MW 9:30-10:45am  Skiles 371)    Screenings: M 7:30-9:30pm Skiles 371    
Major Filmmakers–Asian Auteurs 

 

This course aims to provide an in-depth view on some of the most prominent directors from Asia. Through a combined approach of auteur and cultural studies, we will appreciate representative directors in terms of their individual styles and related national/regional histories that inform the content and form of their films. Among filmmakers to be discussed are: Akira KUROSAWA (Japan), Yasujiro OZU (Japan), HONG Sang-soo (Korea), PARK Chan-wook (Korea), LEE Chang-dong (Korea), KIM Ki-duk (Korea), Hou Hsiao-hsien (Taiwan), JIA Zhangke (China), LOU Ye (China), etc. 

 

LMC  3258  Documentary Film            Instructor:  Thornton        
(TR 1:30-2:45pm Skiles 355)  

Course restricted: Only CM FMS LMC majors 

 
Advanced Video Production—Documentary 

 

Documentaries help shed light on significant topics, and challenge its audiences to act on relevant issues of the day. The objectives of this course are to introduce students to the art of documentary filmmaking, and to explore the ways in which documentary filmmaking can serve as a catalyst for articulating social justice issues that prompt audiences to take action. Working in small, collaborative teams, students will learn to write and produce short documentary videos on social justice issues that are specifically related to the Georgia Tech Community, the City of Atlanta, and/or the State of Georgia. The course will conclude with screenings of student work at the Plaza Theatre (ATL), as part of LMC’s 2nd Annual Social Justice Student Film Festival (LMC SJSFF). The Social Justice Student Film Festival celebrates the work of emerging filmmakers by showcasing social justice centered docs that prompt audiences to take action. 

 

 

LMC  3262  Performance Studies: Rock History         Instructor:  Auslander        
(TR 1:30-2:45pm Skiles 314) 

 

 
Performance Studies: Seminar: Music and Performance Studies: Rock Music to the 1970s 

 

We will look at the first half of the development of rock music from roughly 1945-1977 from historical, social, musical, and performance perspectives. Areas of focus will include: The evolution of the rock band from earlier configurations of musicians beginning with swing and post-war dance bands. The evolution of rock instrumentation from saxophone dominated R&B to guitar dominated rock. The evolution of the vocal harmony group from gospel through doo wop and girl groups to the Beach Boys and the Mamas and the Papas; The waxing and waning of spectacle and theatricality in the performance of rock music; The changing social identities and roles of musicians and audiences; .The role of media, including sound recordings, film, radio, jukeboxes, and television, in the evolution and dissemination of rock music; . Specific musical genres, including jump blues, blues, rockabilly, surf, rock n roll, rock, folk-rock, psychedelic rock and hard rock. In many cases, we will focus in greater detail on a particular issue or artist, particularly artists whose careers reflect transitional moments in the history of the music. Because this course is offered under the rubric of Performance Studies, it will emphasize the visual and performance aspects of rock and related genres at all historical moments, as well as the music itself and the circumstances of its performance. This course will be conducted as much as possible as a seminar, meaning that a high level of student participation in discussion is expected. Assignments include multiple seminar presentations and a final project/presentation on a topic in the history of rock music and its performance. 

 

LMC  3306  Science, Tech & Race           Instructor:  J. Wilson            
(TR 4:30-5:45pm Skiles 317)   
Science, Race, and Technology – Outkast, Atlanta Hip Hop, and Politics of Social Justice 

 

The music of Atlanta rap duo Outkast, along with the performance practices of other Hip Hop-inspired artists, are reframed as case studies for undergraduate students to examine relationships between culture, media, social justice, race, and technology. The course emphasizes pedagogical performance and how these artists play a critical role in the African American traditions of “message music”. Focusing mainly on innovations in southern Hip Hop, the course interrogates its social politics, problematizes it lapses, investigates its notions of Black joy and self-expression, and discusses the ideal of civil rights from the perspective of Atlanta as a “city too busy to hate”. 

 

LMC  3308  Environment Ecocritic         Instructor:  Loukissas        
(TR 3:00-4:15pm  Skiles 170) 

 

 
Environmentalism and Ecocriticism 

 

How have contemporary media, such as film, literature, architecture, photography, and computation, been used to shape popular conceptions of the environment, to challenge these conceptions and to propose radical alternatives? In this class, students will learn to analyze representations of the earth, nature, wildlife and wilderness in creative work across domains: a landscape by James Corner, a short story by Ursula K. La Guin, an installation by Natalie Jeremijenko, a film by Hayao Miyazaki, an interactive narrative by Jeremy Mendez and Leanne Allison. The class will focus on unraveling various configurations of nature and technology in environmentalist creations and exposing their broad social, cultural and political implications. Such configurations might take the form of subject and frame, field and object, original and copy, native and foreign, or non-human and human. Moreover, we will engage with emergent work that seeks to complicate such oppositions as well as speculative practices that move beyond the role of critique. The class will make use of theory from the field of science and technology studies (STS) to motivate a series of short essays and interpretive media projects throughout the term. 

 

LMC  3314  Tech of Representation      Instructor:   Klein             
(TR 3:00-4:15pm Skiles 370)  

Course restricted: Only CM LMC majors. 

 

 
Technologies of Representation: Data Visualization  

 

We live in what’s been called the “golden age” of data visualization. We now routinely encounter bar charts of our step-counts, stack graphs of our debit card purchases, and network diagrams of our Facebook friends—and that is to say nothing of the complex diagrams and infographics that populate the news. Indeed, if data is the “new oil,” as it’s been described, visualization might be said to be the process by which data is converted into energy—in the form of powerful, persuasive images that, far too often, remain under-critiqued. This course will thus present a series of lenses for critiquing—and creating—data visualizations in ways that address their social, cultural, and political dimensions. We will focus on visualizations of Georgia state data, past and present, using the recently rediscovered visualizations of W.E.B. Du Bois as our point of departure. By examining these (and other) visualizations in the context of readings that engage with the various issues surrounding personal and government data, we will emerge with a deeper understanding of the power of data visualization, as well as its constraints. 

 

LMC  3402  Graphic & Visual Design      Instructor:  Leibert          
(TR 12:00-1:15pm  Skiles 346) Course restricted: Only LMC majors. 

 

 
 

 

LMC  3403  BA1 Tech Communication         Instructor: Aldinger 
LMC  3403  BA1  12:00pm-1:15pm  TR  Skiles 370 
LMC  3403  BA2  1:30pm-2:45pm  TR  Skiles 302 
LMC  3403  BA3  4:30pm-5:45pm  TR  Skiles 302 

 

 
LMC 3403: Business Communication. 

 

This technical communication course is designed to introduce students in the Scheller College of Business to the kinds of communications and documents they will experience in the work place. It is an exciting time to study business communication. While in the past, business or professional writing courses focused on teaching students rules, genres, and the do(s) and don’t(s) for creating documents, our focus will be more on creativity, rhetorical theory, and design. As much as this is a course on business communication, this is also and as much a course in design theory. We will read broadly from a variety of disciplines such as: rhetoric, anthropology, philosophy, and marketing. Our goal will be to analyze real-world written, oral, visual, electronic, and non-verbal forms of communication so that we may become designers who create audience/user centered artifacts that are rhetorically sound and engaging.  

 

This is a project based course. Therefore, the course is divided by the major projects which include: a project on infographics, video ethnographies, forecast reports, lookbooks, maps, and a website. Every project will challenge you to reflect on the rhetorical choices you make during the process of designing your documents. In addition, each project will contribute to the culminating portfolio (i.e. your personal website) that you will design to showcase the work you did this semester. This course is affiliated with GA Tech’s Serve-Learn-Sustain Center; therefore, some of our units student will produce deliverables for Atlanta based non-profit clients.   

 

LMC  3403  BA4 Tech Communication        Instructor: Rogers           
LMC  3403  BA4  9:30am-10:45am  TR  Skiles 302 
LMC  3403  BA5  12:00pm-1:15pm  TR  Skiles 302 
LMC  3403  BA6  1:30pm-2:45pm  TR  Skiles 370 

 

 
LMC 3403: Business Communication. 

LMC 3403 is a professional communication course designed   specifically for students in the Scheller College of Business. As such, this course is structured to provide   students with a unique classroom experience which models rhetorical situations one can expect to encounter in the business world. Throughout the semester, our chief goal will be to assess each audience and rhetorical situation effectively, so that we might apply rhetorically sound principles of   communication and design to each.   

 

 

LMC  3403  26983 Tech Communication          Instructor:  Herrington       
(TR    0130-0245pm  317   Skiles) Course restricted: No CS majors. 

 

 
LMC 3403 provides information regarding the principles and concepts of technical communication and creates opportunities for students to practice technical communication skills in developing proposals, analytical reports, and related oral presentations. Students will work in experiential settings to develop materials, gather responses, and engage in critical analyses while pursuing analytical projects. Beginning with the premise that technical communication exists only within contextual situations, and both uses and creates information designed for specific purposes in specific communities (those already existing within organizations as well as those created for a unique purpose), this course asks students to explore both primary and secondary research venues to analyze situations and audiences in their own disciplines to create documents and oral presentations which communicate through effective structure, prose, and visual presentation. Students will learn to analyze and produce functional documents that reflect the results of critical analyses and other pertinent experience. The assignments will include an annotated bibliography, a well-developed analytical report, a proposal, and an oral presentation. The course will cover foundational use of technical communication’s theoretical principles and concepts, treating analyses of epistemological grounding for rhetorical purposes—both analytical and productive—visual rhetoric/document design, ethics, intellectual property, usability testing, and audience issues. The required course products are all functional in nature and replicable for different purposes once students leave Georgia Tech. 

 

 

LMC  3403  27913 Tech Communication         Instructor:  Greene           
(TR 8:00-9:15am Skiles 308) Course restricted: No CS majors. 

 

 
LMC 3403: Community Engagement: Sustainable Communities and STEAM in the Greater Atlanta Area. 

 

Technical communication utilizes strategies and practices relating to information to communicate with a variety of stakeholders. In taking this class, you will learn rhetorical and genre strategies, develop competencies in audience and situational analysis, research, and design practices and will engage in reflection about your results. You will also be extending your already extant problem-solving skills by working on a range of assignments designed to expose you to standard workplace genres and issues. In doing so, you will end up developing a range of multimodal artifacts (including but not limited to memos, presentations, infographics, brochures and/or flyers, manuals, and reports) that demonstrate an awareness of audience, argument, language, persuasion, and design principles. Required texts include Anderson’s Technical Communication (8th ed.) and Alread, Brusaw, and Oliu’s Handbook of Technical Writing (11th ed.).   

 

LMC  3408  Rhetoric-Tech Narratives       Instructor:  Burnett           
TR    0930-1045am  005   Stephen C Hall 

 

 
 

 

LMC  3414  Intellectual Property   Instructor:  Herrington        
(TR 12:00-1:15pm Skiles 368)    

 

 
Students will examine constitutionally informed policy and pragmatic legal issues in intellectual property law, focusing on the effects of power structures and information digitization. Students will master foundational understanding of intellectual property law as it affects/will affect them in their development of creative work. The course primarily provides an overview of the constitutional policy and law that drives copyright as a general structure. But it also covers statutory areas of the law that make up intellectual property, such as the protections for intellectual property: trademark, reputation and goodwill, trade secret, patent, and copyright. The range of discussion in each of these areas is determined by student interests and by their contributions, which complement regular course material. 

 

 

LMC 3431: Tech Comm Approaches.   
This course is part 2 of a two-semester Junior Design capstone course that includes a computer science and technical communication component.  In part one of the course, you selected a project, interacted with the client, developed the project requirements, and prototyped the application.  Additionally, you practiced and honed your abilities to analyze the technical needs of your project by researching the feasibility of several approaches and proposed the one with which you felt was most optimal.   

 

This semester, as you work toward building and delivering your project’s main deliverables, you will continue revising and refining the project’s goals, uses, and results through technical documentation. The course is organized by five three-week sprints.  Three of these sprints are coding intensive, during which teams are expected to accomplish demonstrable progress in coding and implementing their product/system.  The semester’s major technical document is a Detailed Design explaining the architectural and information components of the team’s product/system.   Students will also be asked to participate in a team Retrospective three times during the semester.  These Retrospectives are valuable processes through which a team works through an understanding of their work processes and identifies areas for improvement in subsequent sprints.  Project Management is an important component of the course.  Teams will be asked to carefully plan, document, and manage their workflow and collaboration in order to provide a quality project on time at the end of the semester.  Throughout the semester, you will be tracking and managing your work through weekly meeting minutes and Zenhub.   A final presentation/demo and reflection will round out the deliverables for the course. 

 

Course Prerequisites: LMC 1102  

 

Sections:  

JIA  10:10am-11:00am  F  Coll of Computing 101  Sarah Lozier, PhD 
JIB  11:15am-12:05pm  F  Coll of Computing 101  Sarah Lozier, PhD 
JIC  12:20pm-1:10pm  F  Coll of Computing 101  Sarah Lozier, hD 
JID  1:55pm-2:45pm  F  Coll of Computing 101  Kelly Ann Fitzpatrick, PhD 
JIE  3:00pm-3:50pm  F  Coll of Computing 101  Kelly Ann Fitzpatrick, PhD 
JIF  4:30pm-5:20pm  F  Coll of Computing 101  Kelly Ann Fitzpatrick, PhD 

 

 

 

LMC 3432: Tech Comm Strategies   
This course is part 1 of a two-semester Junior Design capstone course that includes a computer science and technical communication component.  This semester teams will develop a software solution to a problem defined either by a client or the team.  The semester culminates in the development of a prototype and its demonstration in a formal presentation.  Supporting deliverables that teams create include a project vision statement, user stories, and a usability/design support document.  The series of deliverables students create will integrate written, oral, visual, electronic and nonverbal (WOVEN) rhetorical skills for various audiences, purposes, and contexts applicable to students’ professional experiences in the workplace. 

Course Prerequisites: LMC 1102  

 

Sections:  

JDA  10:10am-11:00am  WF  Skiles 202  Halcyon Lawrence, PhD 
JDB  11:15am-12:05pm  WF  Skiles 202  Halcyon Lawrence, PhD 
JDC  12:20pm-1:10pm  WF  Skiles 202  Amanda Girard, PhD 
JDD  1:55pm-2:45pm  WF  Skiles 202  Amanda Girard, PhD 
JDE  3:00pm-3:50pm  WF  Skiles 202  Russell Kirkscey, PhD 
JDF  4:30pm-5:20pm  WF  Skiles 202  Russell Kirkscey, PhD 

 

 

 

 

 

LMC  3661  Theatre Production III      Instructor:   Foulger         
(TBA) Course meets in DramaTech theater. 

 

 
 

 

LMC  3662  26968 Theatre Production IV     Instructor:    Foulger          
(TBA) Course meets in DramaTech Theatre   
 

 

LMC  3705  26970 Prin Information Design    Instructor:  Le Dantec        
MW    0930-1045am  302   Skiles  

Course restricted: Only CM majors 

 
 

 

LMC  3710  Prin Interaction Design           Instructor:   Jafarinaimi      
(MW 3:00-4:15pm Skiles 302)    

Course restricted: Only CM majors. 

 
 

 

LMC  4100  N   L   29884 Seminar in STAC            Instructor:  Santesso         
(TR 12:00-1:15pm Skiles 311)  

Course restricted: Permit required to schedule this course. 

 

 
STaC Seminar: Surveillance and Culture 

We frequently hear that we live in a “surveillance society.” But what does this mean, exactly? Is it simply that we occupy an environment filled with CCTV cameras? Or do we mean, as the phrase implies, that our culture, philosophy and even our basic view of the world have been fundamentally changed by surveillance? In this course, we will explore the ideological and social impact of surveillance and especially surveillance technology on our society. We will read a number of literary works which deal with surveillance (by authors including Orwell, Huxley, Gibson and Philip K. Dick), watch surveillance-themed films (The Conversation, Blow Up), and explore the impact of surveillance on philosophy, architecture, social behavior and communication. 

 

 

LMC  4102  A   L   30156 Senior Thesis               Instructor:  STAFF             
(TBA) Course restricted: Permit required to schedule this course. 

 

 
 

 

LMC  4102  B   L   30082 Senior Thesis               Instructor:    STAFF             
(TBA) Course restricted: Permit required to schedule this course.   
 

 

LMC  4204  Poetry and Poetics II       Instructor:  Denton            
MW 9:30-10:45am Skiles   
Course meets 1st floor Skiles, Poetry@Tech office (across from the main elevator) 

 

 

LMC  4400 Seminar in Media Studies:  CM Games Capstone   Instructor:   Bogost           
(TR 1:30-2:45pm  Skiles 357)    

Course restricted: Only CM Jr/Sr majors. 

Course restricted: Permit required to schedule this course 

Prerequisites: 2700 and 1331 or 1322 

 
 

 

LMC  4500   Seminar in Film Studies          Instructor:   Dalle Vacche     
(TR 9:30-10:45am Skiles  371)  Screenings: W 3:00-5:00 Skiles 371)    
 

 

LMC  4600 Seminar Perform Studies            Instructor:  Auslander        
(TR 1:30-2:45pm Skiles 314) 

 

 
Seminar: Music and Performance Studies: Rock Music to the 1970s 

We will look at the first half of the development of rock music from roughly 1945-1977 from historical, social, musical, and performance perspectives. Areas of focus will include: The evolution of the rock band from earlier configurations of musicians beginning with swing and post-war dance bands; The evolution of rock instrumentation from saxophone dominated R&B to guitar dominated rock; The evolution of the vocal harmony group from gospel through doo wop and girl groups to the Beach Boys and the Mamas and the Papas; The waxing and waning of spectacle and theatricality in the performance of rock music; The changing social identities and roles of musicians and audiences; . The role of media, including sound recordings, film, radio, jukeboxes, and television, in the evolution and dissemination of rock music; Specific musical genres, including jump blues, blues, rockabilly, surf, rock n roll, rock, folk-rock, psychedelic rock and hard rock. In many cases, we will focus in greater detail on a particular issue or artist, particularly artists whose careers reflect transitional moments in the history of the music. Because this course is offered under the rubric of Performance Studies, it will emphasize the visual and performance aspects of rock and related genres at all historical moments, as well as the music itself and the circumstances of its performance. This course will be conducted as much as possible as a seminar, meaning that a high level of student participation in discussion is expected. Assignments include multiple seminar presentations and a final project/presentation on a topic in the history of rock music and its performance. Students taking the course under this number as a senior seminar will have additional assignments. 

 

LMC  4602  N   L   27221 Performance Practicum          Instructor:  Foulger          
TR    1200-0115pm  TBA 

Course restricted: Permit required to schedule this course. 

Contact melissa.foulger@lmc.gatech.edu w/gtid for permit. 

Course meets in DramaTech Theater. 

 

 
Directing for the Stage.  

Learn the fundamentals of stage direction in this project-based class that culminates in a final performance.  Topics include script analysis, staging and working with actors. 

 

LMC  4720  Interactive Narrative       Instructor:  J. Wilson           
(TR 3:00-4:15pm Skiles 269) 

 

 
The larger objective of this course is to contribute to the expansion of human expressive powers by creating and critiquing artifacts that exploit the affordances of the emerging digital medium for the purposes of the ancient human practice of storytelling. 

 

LMC  4725  Game Design                 Instructor:  Magerko          
(TR 12:00-1:15pm Skiles 357) 

 

 
 

 

LMC  4730  Experimental Digital Art     Instructor:   Madej    
(MW 3:00-4:15pm Skiles 308) 

 

 
 

 

LMC  4813   Instructor:  Hertel           
(TR 9:30-10:45am)   
Art of the Industry is a course designed to examine your past, present, and future frameworks in relationship to purpose, career, and participation in the current social systems that exist in the real-world when you set off from college to support yourself through your work.  

Students will have completed packages and have a fluid understanding of how to represent themselves and their talents through resume, cover letters, interviews, and portfolios. But beyond usual career preparedness, we examine our passion, our responsibilities, and our roles. We look at what it means to begin supporting one’s self and particularly at a time when practicality is nuanced with the desire for meaning and impact.   

 

This course is for graduating (SP/18) — or soon-to-be graduating (SU/18 or FA/18) — seniors.  

 

This course is participation-based and attendance is required. The course is part lecture, part studio, part critique, and part discussion. Guest speakers from various industries will visit. Students will be required to give 1 TED-style ‘talk’ and to complete their personal packages. Reading and short essays are required. There will be a class-project as decided by the group which will require production, writing, design, or other contributions specific to your preferred skillset to develop.  

 

LMC  4813/6340 Special Topics: Mixed Reality Design          Instructor:  Bolter           
(TR 9:30-10:45am Skiles 357) 

Course restricted: Only CM CS majors 

 
 

 

LMC  4904  26981 Internship                  Contact: Kirkbride       
(TBA) Course restricted: Permit required to schedule this course.   
 

 

LMC  4904  26980 Internship                  Contact: Hertel           
(TBA) Course restricted: Permit required to schedule this course. Course restricted: Only LMC majors.