VLST 101. Eye, Mind, and Image: Introduction to Visual Studies. 

Fulfills General Education requirements in Sectors IV (Humanities and Social Sciences) and VII (Natural Science and Mathematics). This course is required of all Visual Studies Majors (Stage 1)

Understanding the visual character of our natural and built environments involves both scientific and humanistic disciplines. While the various specialties involved require considerable effort to master, Visual Studies 1010, drawing on a subset of disciplines— neuroscience, psychology, philosophy, art history, and cinema studies—provides an initial guide through the many claims made about seeing art and seeing the world.  Students weigh ideas and evidence about seeing through an interdisciplinary lens. Does seeing vary across cultures? What can art tell us about vision? How is it that combining green and red yields yellow? How do still movie frames produce an experience of motion? Is there a new, modern form of seeing? To address such questions, students gain knowledge of the eye and visual centers of the brain, basic principles of perception, the way in which psychological proclivities are utilized in the cultural sphere, the interaction between art and visual theory, and philosophical questions concerning the mind-brain relation, the value of art, and vision as a source of knowledge. They learn from lectures by an interdisciplinary set of Penn faculty, from hands on labs (for example, an eye dissection), and field trips (to the Dia Beacon Museum).

VLST 102. 2 Dimensions: Forms and Meanings. 

This course is required of all Visual Studies Majors (Stage 1 or 2) (Sector C ArchPT must complete VLST 102 in Stage 1)

This course will introduce students to the theory and practice of image making, focusing on the development of observational skills and analytical thinking.

We will look at conventions of pictorial representation across time and cultures; discuss types of visual information and modes of formal language; explore visual narrative techniques; and seek to expand our understanding of the role images play in our culture.

VLST 103. 3 Dimensions: Time and Space. 

This course is required of all Visual Studies Majors (Stage 1 or 2)

Through studio projects, readings and class discussion, this class will begin to address, both conceptually and physically, basic 3D structures and translations between 3D and 2D, as well as materiality, experiential phenomena, light, and time-based processes.

The interconnection between mediums in our cultural climate employs a wide range of tools, processes, and ideas. It is imperative that visual studies students recognize and think through these connections. The work produced and ideas confronted in this class will facilitate discussions and constructive criticism on the fundamentals of space and time via the experiential, conceptual, and the formal as essential elements of meaning.

VLST 3010. What is Visual Studies?. 

Prerequisite(s): VLST 101 or Instructor Permission. This course is required of all Visual Studies Majors (Stage 2)

Visual Studies at Penn bridges humanities, fine arts, and vision science. It is built on the premise that research in cognitive science, theories of seeing, humanistic study of visual artifacts, philosophical theories of the arts, and maker’s skill and knowledge can inform one another in surprising ways. As with any interdisciplinary endeavor, the synthesis across disciplines takes place primarily in the knowledge and skills of individual practitioners. As they proceed through the major, students find their own syntheses and connections in the rich domain of the visual. To foster such synthesis, this Seminar offers a chance to integrate ideas and practices. It is usually taken during the Spring Term of the third year. Its participants seek new insights into the interplay of art, perception, philosophical theories, and the history of visual practices (including cinema). The Seminar builds on topics introduced in “VLST 1010—Eye, Mind, and Image,” but engages at a more advanced level. It considers topics that expand on the science, philosophy, and history of art, and considers art making and reflections on it. Students undertake a research paper in close collaboration with the instructor and with their classmates. Scholars from Penn and elsewhere specializing in appropriate topics will visit the Seminar and offer new perspectives. The research paper often frames the initial steps toward the Senior Project in the fourth year. 

Sector A

VLST 3050/5050. What is an Image? Verstegen. 

This course may be applied to Visual Studies (Stage 2 or 3, Sector A) major requirements.

The course explores various concepts of images. It considers natural images (as in optics), images as artifacts, virtual images, images as representations, and works of art as images.  Themes to include: the image controversy in cognitive science, which asks whether some cognitive representations are irreducibly imagistic; the question of whether some images resemble what they represent; the development of the concept of the virtual image and of three-dimensional images; the notions of pictorial representation and non-representational images in art.  Readings from C. S. Peirce, Nelson Goodman, Robert Hopkins, Dominic Lopes, W. J. T. Mitchell, John Kulvicki, and Mark Rollins, among others. 

PSYCHOLOGY

VLST 2110/PSYC 1340. Perception

VLST 2120/PSYC 4340. Research Experience in Perception

VLST 2170/PSYC 2240/NRSC 2217. Visual Neuroscience

PHILOSOPHY

VLST 2210/PHIL 2640. Philosophy of Mind

PHIL 1380. Aesthetics

PHIL 2382. Philosophy of Visual Art

Sector B

VLST 3030/5030. The Rise of Image Culture: History and Theories.  Staff. 

This course may be applied to Visual Studies (Stage 2 or 3, Sector B) major requirements.

Images are ubiquitous in the cultural life of the 21st century, yet only two centuries ago they were rare. When and how did pictures come to permeate daily life? How has ordinary experience--psychological, social, cultural, intellectual--changed as a result? This seminar addresses these questions through close reading of influential historical and theoretical writings about the rise of image culture and its effects, including Benjamin, Debord, McLahan, Mitchell.

HISTORY OF ART

VLST 2320/ARTH 1020. Renaissance to Contemporary Art

VLST 2330/ARTH 1030/EALC 0100. East Asian Art and Civilization

VLST 2340/ARTH 1040. Art of Global Asia

ARTH 1060. The Architect in History

VLST 2360/ARTH 2940. Art Now

Sector C 

FINE ART

FNAR 0010. Drawing 1

FNAR 1010. Video 1

FNAR 1020. Photography Practices

FNR 1030. Introduction to Photography

FNAR 1040. Digital Photography

FNAR 1100. Introduction to Printmaking

FNAR 1450. Sculpture Practices

DSGN 0010. Art, Design and Digital Culture

ARCHITECTURE

ARCH 201. Visualization I: Representation

ARCH 202. Visualization II: Fabrication

Stage 3 course selections in your sector of concentration should made in consultation with your Sector Adviser and approved by the Visual Studies Program Director. These course selections are meant to create specialized depth in the chosen area of concentration to complement the breadth offered by the core curriculum. Many of the courses offered but not completed in Stage 2 may be applied to Stage 3, but several courses without VLST cross-listings are also options.

Sector A: Courses in Philosophy, Psychology, and Cognitive Science that have a significant portion of the course related to perception

Sector B: Courses in Cinema Studies, History of Art and Visual Culture (perhaps even in Communications)

Sector C: Courses in Fine Arts and Architecture offered through the School of Design

VLST 395: Visual Studies Senior Thesis Project

VLST Seniors must enroll in 2 semesters of VLST 395