Writing with Words and Images [8-weeks, $240 Suggested]
Instructor: Andrews | Tuesdays May 11-June 29 | 7:00-9:00 PM ET
Do you have a story to tell, but feel like words alone aren’t enough? What can words and images do? This class will offer a chance engage in experiments with words and images to tell personal, political, and even fantastical stories, from the most intimate memoir to the most outrageous manifesto. We’ll study examples of writers’ powerful word-image compositions, from Mary Ferrar’s early modern cut-up “harmonies” to Walt Whitman’s collage poetry to Claudia Rankine’s lyrical parataxis. We’ll also investigate artists such as René Magritte, Glenn Ligon, and Jenny Holzer who bring words into their visual imagery in order to discover new forms of representation. We’ll look at theorists like W.J.T. Mitchell who investigate seemingly self-evident questions, such as, “What are images? And how are they different from words?” And in doing so, we’ll track the cultural turn away from the dominance of language and toward the dominance of images that marks our current media landscape, while simultaneously documenting the interplay between words and images necessary for constituting meaning. This will require us to ask some less obvious, but no less important questions, such as: does writing have a gender? Are images raced? In this course, You’ll learn about techniques like ekphrasis, cut-ups, and parataxis, and create writing/images that experiment with the conventions and new possibilities of visual-verbal composition. The class will be half seminar and half writing workshop. You should be prepared to produce and share work—which can come from in-class prompts—by the halfway point of the class.
We depend on a mix of direct student donations and supplemental donations to make all classes pay-what-you-can. Please pick the pricing tier that corresponds with your needs and that you are able to pay now. If you would like to pay in installments, make your first payment now and make a note on your check-out form. If you would like to donate more later in the term, you can always come back and use the “Make a One Time Donation” button! To use a full scholarship, just pick the $3 tier to cover site/processor fees.
If at any point up to 48 hours before your first class session you realize you will be unable to take the class, we will work with you to reallocate your funds to a future class, to another student’s scholarship, or refund it. After classes begin, we are only able to make partial refunds and adjustments.
Instructor: Andrews | Tuesdays May 11-June 29 | 7:00-9:00 PM ET
Do you have a story to tell, but feel like words alone aren’t enough? What can words and images do? This class will offer a chance engage in experiments with words and images to tell personal, political, and even fantastical stories, from the most intimate memoir to the most outrageous manifesto. We’ll study examples of writers’ powerful word-image compositions, from Mary Ferrar’s early modern cut-up “harmonies” to Walt Whitman’s collage poetry to Claudia Rankine’s lyrical parataxis. We’ll also investigate artists such as René Magritte, Glenn Ligon, and Jenny Holzer who bring words into their visual imagery in order to discover new forms of representation. We’ll look at theorists like W.J.T. Mitchell who investigate seemingly self-evident questions, such as, “What are images? And how are they different from words?” And in doing so, we’ll track the cultural turn away from the dominance of language and toward the dominance of images that marks our current media landscape, while simultaneously documenting the interplay between words and images necessary for constituting meaning. This will require us to ask some less obvious, but no less important questions, such as: does writing have a gender? Are images raced? In this course, You’ll learn about techniques like ekphrasis, cut-ups, and parataxis, and create writing/images that experiment with the conventions and new possibilities of visual-verbal composition. The class will be half seminar and half writing workshop. You should be prepared to produce and share work—which can come from in-class prompts—by the halfway point of the class.
We depend on a mix of direct student donations and supplemental donations to make all classes pay-what-you-can. Please pick the pricing tier that corresponds with your needs and that you are able to pay now. If you would like to pay in installments, make your first payment now and make a note on your check-out form. If you would like to donate more later in the term, you can always come back and use the “Make a One Time Donation” button! To use a full scholarship, just pick the $3 tier to cover site/processor fees.
If at any point up to 48 hours before your first class session you realize you will be unable to take the class, we will work with you to reallocate your funds to a future class, to another student’s scholarship, or refund it. After classes begin, we are only able to make partial refunds and adjustments.
Instructor: Andrews | Tuesdays May 11-June 29 | 7:00-9:00 PM ET
Do you have a story to tell, but feel like words alone aren’t enough? What can words and images do? This class will offer a chance engage in experiments with words and images to tell personal, political, and even fantastical stories, from the most intimate memoir to the most outrageous manifesto. We’ll study examples of writers’ powerful word-image compositions, from Mary Ferrar’s early modern cut-up “harmonies” to Walt Whitman’s collage poetry to Claudia Rankine’s lyrical parataxis. We’ll also investigate artists such as René Magritte, Glenn Ligon, and Jenny Holzer who bring words into their visual imagery in order to discover new forms of representation. We’ll look at theorists like W.J.T. Mitchell who investigate seemingly self-evident questions, such as, “What are images? And how are they different from words?” And in doing so, we’ll track the cultural turn away from the dominance of language and toward the dominance of images that marks our current media landscape, while simultaneously documenting the interplay between words and images necessary for constituting meaning. This will require us to ask some less obvious, but no less important questions, such as: does writing have a gender? Are images raced? In this course, You’ll learn about techniques like ekphrasis, cut-ups, and parataxis, and create writing/images that experiment with the conventions and new possibilities of visual-verbal composition. The class will be half seminar and half writing workshop. You should be prepared to produce and share work—which can come from in-class prompts—by the halfway point of the class.
We depend on a mix of direct student donations and supplemental donations to make all classes pay-what-you-can. Please pick the pricing tier that corresponds with your needs and that you are able to pay now. If you would like to pay in installments, make your first payment now and make a note on your check-out form. If you would like to donate more later in the term, you can always come back and use the “Make a One Time Donation” button! To use a full scholarship, just pick the $3 tier to cover site/processor fees.
If at any point up to 48 hours before your first class session you realize you will be unable to take the class, we will work with you to reallocate your funds to a future class, to another student’s scholarship, or refund it. After classes begin, we are only able to make partial refunds and adjustments.