ACCO 400/AA (Fall 2025): ACCOUNTING IN SOCIETY

ACCO 400/C (Fall 2025): ACCOUNTING IN SOCIETY

Course Overview

This PhD level seminar is designed to familiarize students with quantitative research methods and techniques that are used in various fields of management (e.g., organizational behavior, human resources management, strategy, entrepreneurship and so on). The emphasis of this course is on how to design and evaluate quantitative research studies. The course will cover foundational, as well as more advanced, issues in quantitative research methods. This course does not cover qualitative research methods, as these are covered in depth in other courses in the joint Doctoral program. This course also is not a statistics course, but we will talk about some of the statistical decisions that need to be made in quantitative research and about how to align research goals, with research methods and corresponding data analyses. Major topics in this course include the notion of constructs, reliability and validity in measurement, scale development processes, quantitative research designs, data sources and sampling considerations, types of associations among variables (linear, curvilinear, mediation, moderation, and so on), levels of analysis, meta-analysis, and research ethics. By learning about the research process, students should acquire the knowledge required to evaluate, review, and critique published (and unpublished) quantitative research. The overarching goal of this course is to help students become well-informed producers, readers, and reviewers of organizational research.

AHSC 319/01 (Fall 2025): OLDER ADULTHOOD

This course explores developmental change patterns and differences among people in older adulthood. Topics include retirement and pensions, concepts of health, fitness, well-being and models of health care, housing and transportation, leisure, family and social relations, ethnicity and aging, loss and grief, death and dying. Designed for persons interested in working with older adults, the course fosters awareness of myths, stereotypes and ageism, and emphasizes an attention to community social support and interventions which are enabling.

AHSC 640/01 (Fall/Winter 2024-25): FACILITATING SOCI JUSTICE/EQUI

ANTH 212/A (Winter 2025): LINGUISTIC ANTHROPOLOGY

This course is an introduction to formative debates and major contemporary topics in linguistic anthropology, in which students investigate the many-sided relationship between language, culture, and society. The first half of the course introduces students to foundational disciplinary concepts and concerns, including the role that language plays in influencing thought and perception; the role that cultural ideas about language and communication play in shaping how people use and understand language; the multifunctional quality of language and its importance as a medium of communication, identification, and action; and the ways media technologies shapes a language’s use, circulation, and reception. The second part of the course covers major areas of concern in contemporary linguistic anthropology, including language contact and creolization; language learning, socialization, and (non)-acquisition; language, gender, and sexuality; monolingualism and multilingualism; language activism and social justice; and language and cognition beyond human contexts.

By the end of the course, students will be able to recognize and deploy major terms and concepts in linguistic anthropology, as well as to identify and describe important debates in the field. Students will develop a basic familiarity with disciplinary research methodologies. Additionally, students will acquire intellectual tools to critically discuss and analyze commonplace assumptions and ideas about language, to recognize the influence of powerful institutions like schools, states, and markets in shaping these ideas, and to better understand language’s role in meaning-making and social agency.

ANTH 252/A (Fall 2025): FOOD & CULTURE

ANTH 322/A (Fall 2025): POPULAR CULTURE/MIDDLE EAST

ANTH 363/AA (Fall 2025): LAW AND SOCIETY

ANTH 449/AA (Fall 2025): THE CULTURE OF TOUCH

Welcome to ARTE 330/AA (Winter 2025): INTRODUCTION TO COMMUNITY ART EDUCATION

Course Description

The course investigates the various issues and concerns related to community art education. Students develop skills in assessing community needs. After observation and studio research, students develop and propose an art education curriculum for a specific community setting or population. This course includes a practicum component.

Course Objectives

●      Cultivate our identities, values, sensibilities and methods as artist-educators within a community of practice.

●       Investigate “what makes a community” alongside inclusion, engagement, participation and collaboration questions.

●       Explore different approaches to engaging communities through art education in local and international contexts.

●      Gain first-hand experience in art teaching through peer-to-peer learning and community-based internships.

●      Understand how to develop and implement lesson plans that are meaningful to the communities concerned while integrating our unique artistic voices.

●     Engage in open and critical dialogue regarding social, ethical and political concerns while reflecting on our biases/limitations.

ARTE 354/2 Time-based Media

Fall 2025

TV Interruption Piece, David Hall 1971

Instructor: Aaron Pollard (he/him, they/them)

Independent interdisciplinary artist and cultural worker

Thursdays 5:45pm - 9:45pm

EV2.645 undergraduate studio (with punctual access to the EV5.709 computer lab)

Department of Art Education

Concordia University

Contact Information

Email contact: aaron.pollard@concordia.ca

Office Hours: By appointment only. Please send me an email to fix a time for us to meet.

Territorial acknowledgement:

I would like to begin by acknowledging that Concordia University is located on unceded Indigenous lands. The Kanien’kehá:ka Nation is recognized as the custodians of the lands and waters on which we gather today. Tiohtià:ke/Montréal is historically known as a gathering place for many First Nations. Today, it is home to a diverse population of Indigenous and other peoples. I respect the continued connections with the past, present and future in my ongoing relationships with Indigenous and other peoples within the Montreal community.

For more information (pronunciation, history, rationale and FAQs), visit https://www.concordia.ca/indigenous/resources/territorial-acknowledgement.html

Calendar Course Description

Students develop proficiency in a variety of time‐based media, including video and multi‐media

installations that are suitable for school or community art education programs. Students

investigate related approaches to teaching and curriculum.

NOTE: Students are expected to have basic computing skills or to have completed INTE 290 before registering for this course. Students who have received credit for ARTE 430 may not take this course for credit.

What is time-based media?

Time-based media is a term that encompasses artworks that offer an experience over a passage of time or over a specific duration. The term media refers to a way of doing something. Within contemporary cultural discourse, the word media often refers to the mechanical (print, photography, phonograph) or electronic reproduction of text, imagery or sounds (video or audio).

Within visual arts, “mixed media” is a term often used to describe installation practices that combine multiple traditional disciplines, such as painting, sculpture and drawing. Mixed media combining static objects will not be a focus of this course. However we will be studying practices that mix media where there is a time-based element to some or all of the components.

Multimedia refers to a wide set of electronic and digital practices, often but not always disseminated online. We will look at an array of works and practices that fall into the multimedia category.

What is time-based media for the purposes of this course?

For ARTE 354 this semester, we will focus on various forms of digital electronic media and, on occasion, study examples of legacy, analog and mechanical forms such as cinema and analog audiovisual formats and tools. Our readings and discussions will cover a wide array of forms, including Audio, Video, Animation, Virtual Reality, Circuit-Bending, Robotics and Artificial Intelligence. Practical exercises and skill-sharing will be focussed on acquiring some basic toolsets that are easily adaptable to a variety of art education contexts. Due to the breadth of practices that comprise time-based media, this course is not intended to provide in-depth technical instruction. However the course will offer up best practices for video and audio recording, along with some instruction covering file management, the editing of sound and image, and some pointers concerning projection and live manipulation of audiovisual materials. Certain processes, such as virtual reality authoring or robotics, would simply be too time-consuming to teach within the scope of a survey course such as ARTE 354/2, though there will be some time to examine examples of these practices.

Detailed Course Description

This course is designed to develop your observational skills and to broaden your technical, artistic and pedagogical palettes across a variety of creative processes involving technology, space and time. Throughout this course, you will encounter various approaches to time-based media with an eye to their relevance and limitations within a diversity of educational settings. ARTE 354/2 encompasses experiential and sensorial artforms with a specific focus on mechanical and electronic reproduction, generation and/or amplification of sounds and images in a wide variety of forms and contexts. Through presentations, hands-on workshops, assignments, readings and discussions I will introduce you to an array of current and historical practices that deploy time-based media along with some ideological and cultural frameworks to contextualize them. I encourage you to share your perspectives on works that you encounter in and out of the classroom as you connect the dots between things that we discuss together and the immense cultural offerings found outside the university setting. Time-based media is as ubiquitous as it is labour intensive. We are all soaking in it every day and much of the media we consume is developed, owned and distributed by vast networks with access to resources that dwarf the capacities of individual artists and educators. While we will cover a diversity of ideas and approaches, this course is by no means exhaustive. I will hone in on certain practices that I find relevant to teaching art, that are accessible to students who may be relatively new to working with certain technologies, and that foster confidence in initiating and engaging with creative processes involving (mostly digital) technologies. As an artist, my aim is to offer up a perspective on works and ideas that resonate with me, that are foundational to my own practice and that seem pertinent to you, the group of students who will share this classroom with me over the next 3 months. Together as a group we will explore a wide array of approaches and ideas designed to foster curiosity and to crack open new avenues for learning. As individuals I encourage you to look for a particular process or form that resonates with your own artistic and teaching ambitions when you engage with both midterm and time-based media creation assignments.

Course Learning Objectives for Students

• To gain perspective on various historical and contemporary artistic disciplines and practices that deploy time-based media.

• To identify time-based media practices and techniques that resonate with you as a student, as an artist and as a teacher and to learn how to articulate why they are of interest to you.

• To identify the strengths and limitations of particular time-based media tools and processes within an educational environment and to adopt strategies that address this for your teaching.

• To acquire observational skills and analytical capacities that allow you to identify the impact of various forms of time-based media on the cultural sector and on society at large.

• To develop working methods and technical skills that allow you to learn, practice and teach time-based media.

• To adopt and adapt a set of best practices for file management along with the care and maintenance of equipment and tools (mindfulness is key here).

• To gain insight into questions of authorship and copyright that are specific to the mechanical and electronic reproduction of sounds and images.

• To recognize and foster joy for yourself and others in the process of making and teaching time-based media.

Student responsibilities

Attendance and promptness to all classes (Thursdays, 5:45pm - 9:45pm)

Regular engagement; includes

• In-class responses and discussions

• Solo and group in-class activities

• Weekly sketchbook entries

On-time completion of all:

• Readings/viewings/responses (see course schedule and Moodle)

• Weekly e-sketchbook entries

• In-class activities

• Assignments (see course schedule for due dates)

Class Structure

The course is 4 hours. Most classes will be divided into 2 blocks: 

• The first 2 hours (in EV 2.645) are earmarked for in-class responses to readings, presentations, reviewing time-based media examples and discussions.

• The 2nd 2-hour block is dedicated to practical exercises and studio time where we will also have access to the computer lab (EV5.709).

• There are some classes that stray from this structure, notably classes 7, 9, 11 and 12. For class 7 (Oct 23) after reading break, we will maintain the 2-part structure however the first half of class will be dedicated to the presentations of your proposals for your time-based media creations. The second half will consist of a discussion of the weekly reading, along with an introduction to some performance practices. For class 9 (Nov 6) I am offering you a 4-hour block of studio time where we can work together in EV2.645 and in EV5.709 to help you advance with your respective final time-based media creations. Despite its loose structure this is a very important class. I encourage you to prepare for it carefully. Classes 11 and 12 are set aside for presentations and critiques of your final time-based media creations. Half of you will present your works during class 11 (Nov 20), the other half will present during class 12 (Nov 27). Each of you will be paired with another student. Those who present on Nov 20 will be responsible for leading the critique with one of your peers on Nov 27 and vice versa.

• Class 10 (Nov 13) will maintain the 2-part structure though I have arranged for us to visit the Artist-run Centre, OBORO where we will attend a presentation by Nelly Mironchuck. For the second half of class, I will welcome you to my studio in the Mile End to offer you a look into the workings of a shared artist studio and to present you with a small sampling of things that I have been working on.

Be prepared to spend additional time outside of class time to complete assignments, readings, and to participate on the Moodle course site.

Academic Integrity

Consult Concordia ‘Academic Integrity’ for detailed definition of and penalties for plagiarism—these apply to you: http://www.concordia.ca/students/academic-integrity.html

Plagiarism

https://www.concordia.ca/conduct/academic-integrity/plagiarism.html

• Avoid plagiarism in written submissions by providing citations for all your sources for quotations and ideas (ie: direct quotes and paraphrasing). 

• You must also cite sources for images as a caption (include original date of the work, title, etc. and the source of the photo).

• Guides and samples for formatting citations are here:

Chicago: http://www.chicagomanualofstyle.org/tools_citationguide.html

MLA: http://library.concordia.ca/help/howto/mla.php

The most common offence under the Academic Code of Conduct is plagiarism, which the Code

defines as “the presentation of the work of another person as one’s own or without proper

acknowledgement.” (Article 19 a). This could be material copied word for word from books,

journals, Internet sites, professor’s course notes, etc. It could be material that is paraphrased but closely resembles the original source. It could be the work of a fellow student, a note, a comment or an answer to a question that the person next to you has written down. It might be a paper purchased through one of the many available sources or an answer to a question that you input into ChatGTP or another AI service.

Rule of thumb: Do not copy, paraphrase or translate anything from anywhere without indicating where you obtained it. (Source: The Academic Integrity Website)

Questions of plagiarism within the scope of ARTE 354/2

On a more personal note, I would simply point out that there is no shame in copying within certain contexts. There is a long tradition of copying within visual arts and, indeed, many other cultural practices. In fairness to yourselves and your classmates, it is important that you cite your sources and acknowledge when you have been copying, rather than pretending otherwise. In the case of writing for this class, I challenge you to try to write on your own terms, to try to assimilate and articulate ideas, rather than relying too often on citations or paraphrasing. Naturally, you may turn to spellchecks and other tools to help out in the editing process. I encourage you to do so. As your instructor, I am obliged to follow up and to alert the university administration if I encounter plagiarism or cheating. I would rather not be placed in the position of having to police anybody on this. At the end of the day, if you cheat, you are really just cheating your classmates. Moreover you are depriving yourself of the opportunity to learn something that may be important to your development as an artist and a teacher.

Attendance and Professional Conduct

Code of Rights and Responsibilities

All individuals participating in courses are expected to be professional and constructive throughout the course, including in their communications. Concordia students are subject to the Code of Rights and Responsibilities which applies both when students are physically and virtually engaged in any University activity, including classes, seminars, meetings, etc. Students engaged in University activities must respect this Code when engaging with any members of the Concordia community, including faculty, staff, and students, whether such interactions are verbal or in writing, face to face or online/virtual. Failing to comply with the Code may result in charges and sanctions, as outlined in the Code.

Content belonging to instructors shared in online courses, including,but not limited to, online lectures, course notes, and video recordings of classes remain the intellectual property of the faculty member. It may not be distributed, published or broadcast, in whole or in part, without the express permission of the faculty member. Students are also forbidden to use their own means of recording any elements of an online class or lecture without express permission of the instructor. Any unauthorized sharing of course content may constitute a breach of the Academic Code of Conduct and/or the Code of Rights and Responsibilities. As specified in the Policy on Intellectual Property, the University does not claim any ownership of or interest in any

student IP. All university members retain copyright over their work.

Langues officielles

Vous avez le droit de soumettre vos travaux écrits en français ou en anglais. Je serais ravi d'interagir avec vous en français et de vous aider à traduire les concepts dans la mesure du possible.

Code of conduct for ARTE 354/B

I expect you to be punctual and to attend classes. Please contact me if you are not able to attend class. I expect professional and constructive conduct from you. Participation is key. This includes active listening, respect and consideration for the points of view of others as well as a willingness to contribute your own observations to a given discussion, so that together we may all contribute to an inclusive, collaborative and mutually supportive learning environment.

Extraordinary Circumstances

In the event of extraordinary circumstances and pursuant to the Academic Regulations, the University may modify the delivery, content, structure, forum, location and/or evaluation scheme. In the event of such extraordinary circumstances, students will be informed of the changes.

Calendar (subject to minor changes throughout the semester)

Course Materials

Readings

There are no textbooks for this course nor is there a coursepack. I will place readings on reserve through the libraries where possible and I will upload them to the Moodle where necessary. Though I have a list of readings in mind for this course, I will be adapting it as the semester progresses. I will post each one within a reasonable time-frame.

Facilities

Along with access to the undergraduate studio, EV2.645. This class has access to the computer lab, EV5.709, from 6:45 to 9:45 on Thursdays.

Equipment, supplies and Software

I encourage you to bring your favorite tools with you to class, such as a phone for recording audio and video, laptops or other devices. If you do not have your own recording devices, or if you do not wish to use your own devices within class, you may borrow equipment from CDA. There are days when you will require additional equipment such as headphones. Check the calendar to find out what you will need for each class. I also encourage you to bring a dedicated notebook and pens. I have requested access to the Adobe Creative Cloud suite for the duration of this course. As part of the creative exercises and technical skills development in this course, I will offer you some pointers and best practices for recording audio and video using compact devices such as phones, cameras or audio recorders, along with introductions to certain facets of Adobe Creative Cloud. You may explore other software or tools for the purposes of your final time-based media creation with the understanding that it would require some self-directed learning.

Generative Artificial Intelligence

In this class, writing assignments and submitting outputs that contain incorrect information related to class concepts, inappropriate responses to assignment prompts, or details that you are unable to explain or discuss in detail is considered a misuse of GenAI.

If you decide to use GenAI for any assignments you must acknowledge how GenAI inputs were created by documenting your workflow as well as prompts used.

Department of Art Education Grading Criteria

“A+” (outstanding) is for demonstrating exceptional overall achievement in the required areas of understanding and /or skill. The work reflects student initiative and learning that far surpasses the basic assignment requirements.

“A” level grades (excellent) are for demonstrating excellent overall achievement in the required areas of understanding and /or skill, and also reflects student initiative and learning that goes well beyond basic assignment requirements.

“B” level grades (very good) are for work that fulfills all the components of the assignment and demonstrates very good competencies in all the required areas of understanding and skill, and/or some initiative and learning beyond the basic requirements.

“C” level grades (satisfactory) are for work that completes all the assignment requirements, and demonstrates satisfactory competencies in all required areas of understanding and/or skill.

“D” level grades (weak/minimum for pass) are for work that does not satisfactorily meet the basic assignment requirements and/or demonstrates a significant lack of competency in a required area of understanding and/or skill.

An “F” grade (failing) is for work that does not complete the basic assignment requirements, or demonstrates a serious lack of competency in a required area of understanding and/or skill.

ARTH 264/A (Fall 2025): ASPECTS/HISTORY CERAMICS

During the last three thousand years, ceramic tiles have performed the function of containing, cladding, and dressing buildings. However, in the twentieth century this rich history was largely eclipsed by modernist architecture’s rejection of ornament. Happily, it lingered on within non-Western practices and at the periphery of Western practices and discourse just long enough to become a force in late modern and postmodern expressions. This resurgence is evident by the wide variety of artistic approaches to ceramic tiles within the art, craft, and architectural communities, including the modernist works of Josef Albers and Claude Vermette, as well as postmodern examples that combine industry and craft, decoration, and concept. Turning to examples of tile forms, their glazed and relief decorative surfaces, sculptural variations, and applications to buildings from the first millennium BCE to the present, this course explores how contemporary Western ceramic tiles have revisited historical precedents. Specific historical tile productions this course covers include Islamic, Medieval, Renaissance, and later European and North American studio and industrial productions. Through their fabrication processes and original and present architectural spaces, we will consider these tiles within social, cultural and even political contexts. This interdisciplinary course looks to art and craft histories, anthropology and material culture and explores issues pertaining to heritage, decoration, orientalism, and the applied arts.

ARTH 374/A (Winter 2025): ARCH & URBANISM IN MONTREAL

A City Shaped by Its People

“Buildings make the city. They define the streets. They define the squares. They define where the parks are. They define how you live in a city, how you walk in a city, what you do in a city; they can make it very pleasant or very unpleasant.” – Phyllis Lambert

A wide-ranging survey of the architecture, urbanism, and landscape of Montreal and their significance in the political, social, and cultural context of the city throughout the 19th and 20th centuries. If “buildings make the city,” as stated by Montreal architect Phyllis Lambert, then who makes the buildings? Beyond professional architects and urban planners, this course will explore how regular citizens and their actions can shape the cityscape. We will pay attention to the ways that different forces—such as settler colonialism, immigration, economic booms and busts, gentrification, urban renewal reforms and popular movements—contribute to the transformations of Montreal and its buildings over time. We will look at architecture as a product of its specific local environment, and of global forces and historical conditions. Adopting an intersectional approach, we will consider how buildings can be read as sites of conflicting power relations, social dynamics, and collective action. As such, students will be asked to analyse buildings not as isolated objects, but as the result of political, cultural, social, and technological contexts of their time. Each week, as we discover different areas of Montreal, we will learn to recognize key architectural typologies, styles, and movements, and encounter both iconic sites and lesser-known figures. If you’ve ever asked yourself why Montreal looks and feels the way it does, a city of unique neighbourhoods defined by their buildings and the people who built them, this course is for you.

ARTH 6600/A (Winter 2025): SOCIAL CONTEXTS OF ART/ARCHIT

ARTH 676/AA (Fall 2025): INTRO CURATORIAL PRACT&THEORY

CONCORDIA COURSE CALENDAR DESCRIPTION

An introductory examination of selected aspects of curating and curatorial practices.

COURSE SUMMARY

This seminar introduces students to the histories and theories of curatorial practices in various

local, national, and international contexts. It explores a range of historical, social, economic,

educational, ethical, legal, technological, and administrative issues concerning curation in

various types of institutional and non-institutional contexts. The course introduces both

theoretical and historical aspects of curatorial practice from an array of perspectives, such as

but not limited to Indigenous, Black, queer, feminist, and decolonial approaches, and

methodologies such as cultural analysis, institutional critique, and activist interventions, to cite

only a few examples.

LEARNING OUTCOMES

By the end of the course, students will be able to:

• Discuss how histories and theories of curatorial activity affect current practices within

multiple contexts: cultural institutions and organizations, the larger art world, and diverse

cultural communities.

• Take into consideration multiple perspectives, including Indigenous, Black, queer,

feminist, anti-oppression and decolonial approaches.

• Recognize diverse methodologies, including cultural analysis, critical race museology,

institutional critique, and activist interventions used in research-based curatorial

practices.

• To develop an independent research paper that interprets elements of curatorial frameworks and perspectives

• To present research orally in a clear and concise format

COURSE MEETING SCHEDULE

EVALUATIONS

10% Punctuality and regular weekly in-class oral participation (Q&A, comments, etc.)

15% Think Tank

25% Exhibition Review

20% Notebook evaluation

30% Curatorial Concern proposal (written component and oral presentation)

IMPORTANT DUE DATES

September 30^th: Guest Lecturer – Camille Larrivée

October 17^th: Deadline to submit required documentation to register with the Access Centre for Students with Disabilities and request exam accommodations for the fall 2025 final examination period

October 28^th: Exhibition Review with short presentation

November 11^th: Think Tank

November 25^th: Final presentations + hand-in your notebook

PARTICIPATION AND REQUIREMENTS

Your main responsibilities in this course are to complete the readings assigned before the class in question, to follow the lecture and to ask questions and to contribute to discussions. Attendance and participation are thus essential. Indeed, active participation transforms curatorial seminars from passive lectures into venues for dynamic intellectual exchanges. When students engage through discussion and debate, they develop critical thinking skills and become better equipped at connecting artworks to broader cultural contexts. Participation also fosters deeper preparation and retention. A collaborative environment allows multiple perspectives to emerge, enriching everyone's understanding of complex artistic movements and cultural significance. This engagement mirrors professional curatorial and cultural work discourses, preparing students for more advanced study and careers requiring analytical communication skills. During class discussions, you are required to always show respect and openness towards your colleagues’ views and to always treat each other with dignity, even when you disagree with each other. Your participation is valued at 10% of your final grade

SUBMISSIONS

All assignments, without exception, must be handed in on the due date mentioned in your syllabus. All requirements are to be completed on their scheduled date. No extensions or make-ups are possible, except in the case of illness (must be proven with a doctor’s certificate) or medical emergency/death in the family (must be proven with a certificate). Out of courtesy for the professor and your fellow students, you are expected to arrive at every meeting on time. I will take attendance every week (for your participation grade). You are also strongly encouraged, especially before the midterm break, to come in during office hours to discuss your research project.

GENERATIVE AI

Generative AI tools such as ChatGPT have become very popular but are unreliable for historical research as they often produce misinformation or biased, even inaccurate data. You are thus strongly discouraged from using them. Prohibited uses and/or not sufficiently acknowledging use will be deemed misconduct under Concordia’s Academic Code of Conduct. Students who engage in these behaviours may be charged under Articles 18 (general cheating/plagiarism /dishonest behaviour) and 19a (plagiarism) of the Code. You are always responsible for what you submit to the instructor.

THINK TANKS

A think tank is an organization formed to think up new solutions, especially for social and scientific problems. It is also a research institute that seeks to play a key role in making and influencing global, regional, and national policy. In sum, it is when a body of experts provides advice and solutions to specific issues at hand. In the case of our classrooms, our think tanks are spaces where, as emerging practitioners, we will address specific issues related to curating and provide new ways of thinking, and attempt to influence current curatorial discourses. Based on our readings, exhibition visits and what we have discussed and learn so far, think tanks ask questions like: what did you / didn’t you notice? What and who was missing? What are the successes and failures of curating and talking about artistic practices in this way? How can you relate everything you have seen, read and heard so far to your current research? The Think Tank is valued at 15% of your final grades.

EXHIBITION REVIEW

Each seminar participant is asked to write an exhibition review of a show they have seen during the semester (it should be a different exhibition from the one highlighted in your syllabus). For this assignment, you are asked to visit an exhibition by yourself or in small groups sometime in September and early October. In your exhibition review, which you are to write individually, please try to address these first basic points: How is this exhibition structured? How is the textual and artistic material organized? Who/what is included or discussed in the show? Do you find the curating to be successful, based on the organization and the documents presented? Do you think there was a good diversity of works, artists and ideas presented? Do you also think there is too much, or too little, information available on other artists who influenced his work? Was there a particular work that grabbed your attention more, and if so, why? Of course, feel free to address other issues besides the ones included in this prompt. Remember to be specific in your answer and to make direct references to the material on display in the exhibition. Although you can certainly express whether you like the exhibition, the main emphasis should not be on presenting judgments of taste about whether or not you like the works on display (for example, interesting vs boring, beautiful vs ugly). Be mindful that your reader (me) may not have seen the exhibition you are writing about.

Assignment should be 750-1000 words, double-spaced, 12-point font (Times New Roman or similar). Include a title page with your full name, student ID, and course information. Please include at least one photograph that you took yourself during your exhibition visit (cell phone pictures are allowed). If you use any outside sources (including the gallery website), make sure to use the appropriate footnotes.

You will give a brief presentation (5-7 minutes) of the exhibition you are reviewing before handing in your paper. Include a PowerPoint presentation and answer the following questions:

·      What have you seen, and where

·      Why did you select this exhibition to review

·      Brief presentation of the institution and artists / curator-s

·      Why you would or would not recommend this exhibition to your colleagues

The rest of the classroom will ask you questions about the exhibition. Student participation in the Q&A is essential. Total presentation, including Q&A is 10-12 minutes for each student. Written exhibition review and presentation are valued at 25% of your final grade.

NOTEBOOK EVALUATION

The notebook you will need to buy serves as a diary: this is where you will consign every note, question, highlight, aha moments and ideas you will have throughout the semester. You will also use it as a portfolio for every exhibition flyer, text and images that you are drawn to and/or have a link to your current academic research. The purpose of this notebook is to gather and archive your thinking process throughout the semester and keep a record of things you want to remember. It is basically a commonplace book: A commonplace book is a personal collection of information—such as quotes, observations, ideas, recipes, and other noteworthy tidbits—gathered from various sources and organized for easy reference. It serves as a personalized central resource or "scrapbook for ideas" where individuals can store and retrieve wisdom and inspiration to support intellectual growth and creativity. You will not be evaluated for the quantity of what is gathered; what is important is your participation in building a strong curatorial framework for yourself and your curatorial/academic research. The notebook is valued at 20% of your final grade.

PROJECT PRESENTATION

For your final project, you will present a scene from a film, a TV show, a news segment, etc., where one or more people is experiencing an exhibition, a gallery, a museum, an outdoor installation, in any way, shape or form (as an example, the scene in the Musée du Louvres in Jean-Luc Godard’s Bande à Part). After giving us the basic information on your choice, please discuss, in Pecha Kucha format:

·      What attracted you to this scene (formal characteristics)

·      If and why their behaviour is or is not appropriate

·      If you wish the general public were allowed or not allowed to act in this particular way

·      Can exhibition making and curating be conducive to similar or different behaviours

·      What kind of behaviours would you want your curating to achieve, and how would you do it?

·      Are artists and curators served by the behaviour proposed in your clip?

·      Would you want to be there, and if so, how and who would you want to be in the scene?

·      One question you would like to ask your fellow colleagues about your scene.

For your final oral presentation, clarity and concision will be key. You will need to present the content and the general approach you have used for your research project. We will use the Pecha Kucha format. Pecha Kucha is a presentation structure created in Tokyo in 2003 by architects Astrid Klein and Mark Dytham. The name means “chit chat” in Japanese. The format requires presenters to show exactly 20 slides, with each slide displayed for precisely 20 seconds, creating a total presentation time of 6 minutes and 40 seconds. This type of format was designed to keep presentations concise, fast-paced, and engaging. Originally used for design and architecture presentations, Pecha Kucha has expanded globally across various fields, including business, academia, and creative industries. The constraint encourages creativity and clarity. It also helps prevent long-winded presentations while maintaining audience attention. Your slides need to include good-quality images and short text/quotes. A short Q&A portion will follow each presentation. Your presentation will be a total of 20 minutes, including the Q&A and is valued at 30% of your final grade.

LANGUAGE

Course assignments may be submitted in French or in English. Also, feel free to email me in either French or English. Je suis francophone. Class instructions and discussions, however, will be conducted in English.

EMAIL COMMUNICATION

Students’ course-related emails will be answered within approximately 24 to 36 hours, Monday through Friday, barring unforeseen circumstances. I do not read or answer emails on the weekend. I am a freelance curator and therefore have many other engagements. Please be mindful of this with your expectations. Any message/response that would be of help to other students will be discussed in the following class. Please limit emails, as much as possible, to more technical or specific questions. For longer discussions, please set up an office appointment.

GENEROSITY

This is the first course of the first Graduate Curatorial Certificate at Concordia University. Please be generous to yourself, your classmates, and the scholars teaching you this course. This experience is new to everyone; please be mindful as we try and test this program.

 LEARNING SERVICES

 In grading your papers, good writing, that is, grammar, sentence structure, clarity of ideas, strength of argument, etc., will be taken into account as part of your evaluation. If you have writing difficulties or would like the help of an editor, please visit the Student Learning Services: Counselling and Development, Hall Building, H-440 Tel. 848 2424, ext. 3545 Email: sls@alcor.concordia.ca Web: http://learning.concordia.ca/

HEALTH OR PERSONAL DIFFICULTIES

 If you are experiencing health or personal difficulties that impede your work or attendance, please contact me as soon as possible, and do not wait until you have fallen behind. I will respect confidentiality, as much as I can within my role as instructor. For serious issues, you are especially encouraged to reach out to Concordia’s help services, composed of trained professionals: Health services: 514-848-2424, ext. 3565, http://www.health.concordia.ca Counseling: 514-848-2424, ext. 3545, http://cdev.concordia.ca Sexual Assault Resource Centre: https://www.concordia.ca/students/sexual-assault.html

STUDENT RESSOURCES

Office of Rights and Responsibilities: http://www.concordia.ca/students/rights.html

Otsenhakta Student Centre: on-campus resource for First Nations, Métis and Inuit students: https://www.concordia.ca/students/otsenhakta.html

Black Perspectives Office: https://www.concordia.ca/provost/about/areas/black-perspectives-office. html

NouLa Student Hub: https://www.concordia.ca/students/noula.html

ACCESS CENTRE

 If, for psychological or medical reasons, you require assistance to help you with your work, please consult the Access Centre for Students with Disabilities at your earliest convenience. http://supportservices.concordia.ca/disabilities/

PLAGIARISM

All members of the Concordia Faculty of Fine Arts community are expected to maintain complete honesty in all academic work, presenting only that which is their own work in tests and assignments. Copying or paraphrasing the words and ideas of others without proper acknowledgment is considered as plagiarism, defined as “intentionally representing the words, ideas, or data of another as one’s own in any academic exercise without providing proper citation.” On how to properly attribute the work of others, contact your professor, or visit the Concordia website: http://finearts.concordia.ca/HTML/conduct.htm e description of and penalties for plagiarism (which include failing the course) can be found in the Concordia University Calendar. All suspected cases of plagiarism will be investigated, and ignorance of the rules and regulations regarding academic conduct will not be considered as an excuse.

TECHNOLOGY IN THE CLASSROOM

The Department of Art History supports student use of technology in the classroom only when that use is directly related to the lecture, such as using a laptop for the purpose of taking notes or using the Internet at the professor's request. Students with special accessibility requirements are advised to speak with their instructors to ensure accommodations. Using technology to engage in email, gaming, text messaging, chatting or browsing the Internet, etc., is not permitted during lectures. Not only does this use interfere with the user’s own capacity to listen, learn and participate, it also disturbs students sitting nearby. Any technology that captures images of other students or the professor without their permission is also in violation of the Code of Conduct and Canadian privacy laws.

ONLINE BEHAVIOUR, TECHNOLOGY AND INTELLECTUAL PROPERTY

Per Concordia rules, all individuals participating in courses are expected to be professional and constructive throughout the course, including in their online communications. Concordia students are subject to the Code of Rights and Responsibilities, which applies both when students are physically and virtually engaged in any University activity, including classes, seminars, meetings, etc. Students engaged in university activities must respect this Code when engaging with any members of the Concordia community, including faculty, staff, and fellow students, whether such interactions are verbal or in writing, face to face or online/virtual. During potential class discussions and “break out group” meetings, you are required to be constructive and to show etiquette, respect and civility towards your colleagues’ views at all times. Please treat each other with utmost dignity. It is never allowed to use demeaning or oppressive language towards the instructor or fellow students based on appearance, disability, ethnicity, gender identity, language, religion and/or sexual orientation. Failing to comply with the Code may result in charges and sanctions, as outlined in the Code. Content belonging to instructors shared in online courses, including, but not limited to, syllabus, online lectures, course notes, and video recordings of classes, remains the intellectual property of the faculty member. It may not be distributed, published or broadcast, in whole or in part, without the express permission of the faculty member. Students are also forbidden to use their own means of recording any elements of an online class or lecture without the express permission of the instructor. Any unauthorized sharing of course content may constitute a breach of the Academic Code of Conduct and/or the Code of Rights and Responsibilities. As specified in the Policy on Intellectual Property, the University does not claim any ownership of or interest in any student’s intellectual property. All university members retain copyright over their work. During the synchronous portions of the course on Zoom, please do not distract others with other online activities using phones, tablets or computers, whether it is work for other classes, social networking, gaming, or texting. It is also strictly forbidden to capture sound or images of other students without their explicit consent, as it infringes on Canadian privacy laws. Please be respectful of these rules at all times, even if we are online. The complete Code of Rights and Responsibilities is available online: https://www.concordia.ca/content/dam/common/docs/policies/official-policies/BD-3.pdf

EXTRAORDINARY CIRCUMSTANCES In the event of extraordinary circumstances, the University may modify the delivery, content, structure, forum, location and/or evaluation scheme. In the event of such extraordinary circumstances, students will be informed of the changes. See: www.concordia.ca/academics/undergraduate/calendar/current.html

RELIGIOUS HOLIDAYS

Please let me know ahead of time if you wish to celebrate religious holidays not listed on the Concordia academic calendar that may be happening at the same time as the course. I’d be happy to accommodate your request.

FORMATTING All reading responses need to be formatted according to the Chicago Manual of Style. http://www.chicagomanualofstyle.org/tools_citationguide.html

CONCORDIA GRADING SCALE

ASEM 620/B (Winter 2025): ART: IDEAS AND PRACTICES

ASEM 620/4 Art, Ideas and Practices: The Assemblage is a graduate seminar exploring historical and contemporary assemblage practices in the visual arts (painting, photography, works on/of paper, sculpture, installation, film, new media and performance) through the lenses of art history and criticism, cultural studies, social and political theory, and post-humanist philosophies. Our discussions will consider how industrial and post-industrial production models shape social formations, object relations and aesthetic strategies, and gauge how the many and various arts of assembly mirror and imagine ways of knowing, relationality and belonging, and the individual, community and collective.

The course begins with a series of seminars meant to establish a theoretical, historical and conceptual ground for student-led research project presentations addressing related, but independent themes.

Introduction to managing the development, design and construction of buildings. Examination of project management for the total development process, including inter-relationships between owners, developers, financing sources, designers, contractors and users; methods of project delivery; introduction to planning and scheduling; role and tasks of the project manager; feasibility analyses; construction claims; financing and cash-flow analysis; government regulations; environmental and social constraints; introduction to control of cost, time and technical performance; human factors; computer applications. A project is required.

The advent of the internet has given marketers new tools, new media, but it hasn't changed the fundamentals. And those are exactly what you'll learn in this introductory course. Are you in? Say yes, if you'd like to learn about the critical components of marketing or the situations in which a marketing manager must thrive. Say yes, if you want to learn about strategic marketing planning, decision-making, market segmentation and positioning. Say yes, if you'd like to lay the foundation for continued studies in marketing. You see, that's what marketing is all about: getting consumers to say yes.

This course is a great way to help you:
• Develop and implement a marketing plan;
• Respond to changing and evolving business-related situations with appropriate marketing strategies;
• Narrowly define a desired target market;
• Effectively position an organization's offer;
• Develop marketing communication skills.

As in the workplace, teamwork is key here. Sure, there will be engaging assignments and activities, but you'll also form ad-hoc teams to discuss real-world subjects presented by business experts. You'll formulate strategies to solve problems or seize opportunities. Above all, you'll have ample chance to contribute personally to the process. This course is designed with a combination of online live synchronous learning where the instructor and the students meet in a virtual classroom (Zoom) at the same time, and asynchronous work guided by the instructor and completed by students in their own time. 

• Anyone who wants to learn the essentials of marketing and online marketing.
• Students who want to work in marketing, advertising, promotions, retail or sales, or pursue studies in those areas.
• Entrepreneurs who want to market their products or services.
• Students moving onward to an academic path in marketing.
• Employees in marketing, communications or sales who want to refresh their skills or open new horizons.
• Small-business owners or association members who manage their own marketing and communications.

CEPR 125/1 (Summer, 2022): SOCIAL MEDIA - NETWORKS

CEPR 125/1 (Spring 2025): SOCIAL MEDIA - NETWORKS

CEPR 125/A1 (Fall, 2016): SOCIAL MEDIA FUNDAMENTALS

CEPR 125/A1 (Fall, 2018): SOCIAL MEDIA - NETWORKS

CEPR 125/B1 (Winter, 2021): SOCIAL MEDIA - NETWORKS

CEPR 125/B1 (Winter, 2023): SOCIAL MEDIA - NETWORKS

CEPR 125/DYPR (Spring, 2016): SOCIAL MEDIA FUNDAMENTALS

CEPR 125/DYPR (Spring, 2019): SOCIAL MEDIA - NETWORKS

CEPR 225/1 (Summer 2025): SOCIAL MEDIA STRATEGIES& ROI

CEWD 365/B1 (Winter, 2023): SEARCH ENGINE OPTIMIZATION
Course Description:

This course teaches students proven techniques used to increase the number of visitors to a website. Focusing on search engines and how they index pages and order search results, the course will demonstrate how the use of keyword research and selection, placement and density, tagging, linking, site design and performance, as well as social media all play a role in improving the visibility of a  website. Students will also learn off-page technologies to strengthen and hinder website visits, including XML sitemaps, robot files, tracking and measuring optimization efforts. Upon completing this course, the student will understand how to apply tried-and-true techniques to improve website traffic and visibility. 

Learning Outcomes:

• By the end of this course, you should be able to: 

• Perform a detailed site SEO technical and content audit 

• Identify trends and insights 

• Create a question-mapping strategy 

• Create Technical Recommendations 

• Create Content Recommendations (Tags and On-page content) 

• Create an SEO-optimized website/landing page 

• Utilize best practices for presentations 

Employ project management techniques for effective teamwork

COMS 333/02 (Winter 2025): GAMES, MEDIA AND CULTURE

From the syllabus: With a growing global games industry valued at an estimated $187.7 billion USD in 2024 come significant questions about when, where, why, and how games and play have come to matter to us. This course provides students with an introduction to the study of games (digital and analog), their relationship to other media, and their impact on contemporary society and culture. Students will learn how to critically engage with games as media objects, be familiarized with a variety of theories and methods for studying games, and consider the role and impact of games across various (sub)cultures. Through the course materials, we will explore topics such as labour and production, diversity and representation, queer games, the impact of “GamerGate 2.0”, and competitive gaming spheres such as speed-running and E-Sports. Students will have the opportunity to learn how to make sense of games as both scholars and as players by working with them directly in the classroom and by connecting them to current events and day-to-day life.

COMS 422/01 Perspectives on the Information Society - Winter 25

DANC 302/A (Fall 2024): DANCE AS SOCIAL LIFE&CULT PRAC

DANC 411/A (Fall 2025): CAPSTONE I: CHOREOGRAPHIC PROC

This third-year level course is framed around process and research, and it is the first part of a year-long, capstone choreographic project. The course introduces students to research processes and methods related to choreographic research to support the development of student’s projects, choreographic language and interests.
Students will explore the relationship between theory and practice, situate and position their proposals in wider contexts (historical, aesthetic, social) and develop a singular choreographic process. Through movement exploration and experiments with dramaturgical forms, this course will support students in the creation of specific physicality’s, choreographic vision and planning for their final creation at Concordia Theatre in March 2026.
They will explore with transmission, collaboration, class discussions, collective readings, develop and practice peer-to-peer feedback methods, observe and express critical thinking.
In addition, they will be required to present and articulate their proposition throughout the course and publicly in the last studio presentation.
Their ideas will be the basis of the course content, students will learn to progressively build and argument their projects.

DART 331/A (Winter 2025) WORDS IN SPACE

Thursdays, 8:45am to 12:45pm
Studio EV 7.735 + Lab EV 5.709 SGW
Instructor: pata macedo [pata.macedo@concordia.ca] 
Office hours by appointment

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OUTLINE in PROGRESS

+ + + + 

This studio course focuses on type and image in the built environment. Issues of space, materiality, and legibility are examined within architectural and urban landscapes. Students engage in projects ranging from wayfinding and signage to exhibition design and installations.

+ + + + 

Grading

Students will be evaluated on their conceptual skills (creativity and problem solving), technical execution (precision and accuracy), presentation (oral communication, written communication, neatness and organization), crafts/wo/manship, class participation, commitment, timeliness, enthusiasm, initiative and follow-through.

Distribution

25% PROJ 01

40% PROJ 02

15% PRESENTATION

20% Participation and Engagement in Class + Small Assignments 

All major projects must be completed to pass this course.

For each of the major projects, the grade is divided accordingly
15%  Concepts presentation/ Proposal 
25%  Mock-up
50%  Final project
10%  Process Book (PDF) + digital files uploaded

Late projects will be lowered by a full grade for each week the project is late (i.e. A- to B- or C to D) .

All the artwork submitted (written content, illustrations, photography, shapes, patterns, etc.) must be original artwork created by you.

+ + + + + +

Grading

Students will be evaluated on their conceptual skills (creativity and problem solving), technical execution (precision and accuracy), presentation (oral communication, written communication, neatness and organization), crafts/wo/manship, class participation, commitment, timeliness, enthusiasm, initiative and follow-through.

Late projects will be lowered by a full grade for each week the project is late (i.e. A- to B- or C to D) .

All the artwork submitted (written content, illustrations, photography, shapes, patterns, etc.) must be original artwork created by you.

Final Grade

The final grade will be based on the University grade point equivalents as listed in the Concordia Undergraduate Calendar, Section 16.3.3.

A | Outstanding/Excellent

The work is an outstanding interpretation of the assignment, demonstrating critical thinking, careful attention to detail and planning. Excellent in both content and form, it is well crafted, insightful, and surprising in its originality.

B | Very Good

The work demonstrates a strong interpretation of the assignment’s requirements in concept, content and form. It would benefit from a more original approach, and/or formal refinements.

C | Satisfactory

The work demonstrates a sufficient interpretation, fulfilling the assignment’s basic requirements. However, some aspects of the development and outcome are missing or lack completion.

D | Marginal Pass

The work demonstrates a minimal interpretation of the assignment.

F | Fail

The work does not fulfill the assignment’s requirements.

Winter 2025 Calendar Important Dates

https://www.concordia.ca/students/undergraduate/undergraduate-academic-dates.html#winter2025

Department Standard for: Class Participation, Attendance and Punctuality 

While the structure of individual classes may vary between instructors, courses, and weeks according to the types of activities involved, the Department recommends that for 4-hour classes, students and their instructors have 20-30 minutes of break time, and for 3-hour classes, they have 10-20 minutes of break time. 

Class Participation 

In-class participation is considered an important and significant part of each course. Attendance is taken, and students are responsible for being present at all classes. Up to 30% of the final grade for any course can be given for attendance and class participation, at the discretion of the instructor. 

Attendance 

As a standard departmental policy, a maximum of two absences per term is tolerated, after which an official medical note or other valid reason must be provided. Justification must be given in writing to the instructor. Three unjustified absences per course will result in a failed grade. It is incumbent on the instructor to warn a student, via email, if that student is not meeting course expectations. Notification in writing will be sent by the instructor to the student after two missed classes to notify the student they are at risk of failing.

In all cases, students are responsible for any coursework due during periods of absenteeism, including the Drop/Add period.

Department Standard for Punctuality 

Students missing fifteen minutes or more (through late arrival or leaving while class is in session) will be considered a partial absence, at the discretion of the instructor. Students are encouraged to take notes, however the use of mobile devices (tablets, phones, and laptops) and social media is disallowed during lectures, presentations, and critiques.

DTHY 643/GA (Summer 2025): SOCIODRAMA AND PSYCHODRAMA

EDUC 384/AA (Winter 2025): TEACH SOCIAL STUDIES IN ELEMENTARY SCHOOLS

ENGL 332/AA (Fall 2025): STUD/19TH-CENTURY BRITISH LIT

LITERATURE(S) OF THE "VICTORIAN PERIOD"

In 1831, at the dawn of what has come to be known as the Victorian era, Thomas Carlyle wrote: "Never since the beginning of Time was there...so intensely self-conscious a Society. Our whole relations to the Universe and to our fellow-man have become an Inquiry, a Doubt." Already, the Victorians were defining themselves as a historical period of thought and culture. In this course we will study some of the most canonical works of British poetry, fiction, and non-fiction prose that have been used to define "Victorian" (1832-1901) as a period of literary history, alongside works from a broader global frame that offer new perspectives on what Victorian literature was, and what it can teach us today. This approach will allow us to ask questions about the different kinds of "Victorian" worlds we might conjure through literary study (English and Anglocentric, imperial, settler-colonial, etc.). We will study Victorian texts as formal aesthetic objects intertwined with ideas and social phenomena concerning class and industrial relations; the position of women in society; science, technology, and media; race, empire, and national identity; education; and the conception of literature in a commodity culture, among other frames. We will also consider the theoretical and practical implications of studying literature through the lens of periodization, and what it means to think about "Victorian" as a literary category, situated between the Romantic and Modernist periods. Our approach will be both textual and contextual, combining lectures and substantial class discussion. Some of the authors to be considered will include Carlyle, Mill, Barnes, Hood, Tennyson, Darwin, Gaskell, Dickens, Engels, Browning, C. Rossetti, Ruskin, Arnold, Pater, Morris, Wilde, Stevenson, Hopkins, Johnson / Tekahionwake, and Ghandi.

ENGL 470/A (Winter 2025): HONOURS SEMINAR

The Honours seminar concerns the intersection of national and natural history in American nature writing, as well as genre history and the reformist politics this literary genre often promotes. The class introduces Ralph Waldo Emerson and, most importantly, his preeminent acolyte Henry David Thoreau, who extends natural history into conservation and social justice, including abolitionism, female suffrage, Native land rights, and agitation against industrial agronomy and unregulated resource extraction.  The course turns to the rise of modern ecology and exemplary texts by e.g. John Muir, Luther Standing Bear, Mary Austin, Arno Leopold and Rachel Carson.  Particular attention is dedicated to the contemporary legacy of this environmental tradition, in which gendered, Native, Latino, African-American and diasporic perspectives gain belated prominence. 

ENGR 392/AB (Summer 2025): IMPACT/TECHNOLOGY ON SOCIETY

ENGR 392/CD (Summer 2025): IMPACT/TECHNOLOGY ON SOCIETY

ENGR 392/D (Fall 2025): IMPACT/TECHNOLOGY ON SOCIETY

ENGR 392/F (Fall 2025): IMPACT/TECHNOLOGY ON SOCIETY

ENGR 392/H (Fall 2025): IMPACT/TECHNOLOGY ON SOCIETY

ENGR 392/RR (Winter 2025): IMPACT/TECHNOLOGY ON SOCIETY

ESTU 641/BB (Winter 2025): TOPICS/SOCIOLOGY OF EDUC II

FFAR 292/AA (Fall 2025): CULT STDS & CREAT IN HIV/AIDS

FINA 310/AA (Fall 2025): REAL ESTATE DEV & ENTREPR

This course focuses on fundamental concepts and analytic tools applied in real estate development. It incorporates the interdisciplinary character and the entrepreneurial nature of the development process. It covers different interactive stages and discusses the roles and motivations of various stakeholders involved in this decision-making process. In addition to the analysis of financial returns, this course includes discussion on the economic, social and environmental costs and benefits.  Please review the course outline.

FPST 210/A (Fall 2024): HAUDENOSAUNEE PEOPLES

GEOG 203/A (Fall 2025): CANADIAN ENVIRONMENTAL ISSUES

The course examines the complexity and diversity of Canadian environmental issues from an interdisciplinary perspective.  Natural science considerations are explored as well as the relationship of scientific understanding to policy and wider social action. Issues addressed (may e.g. varies from year to year) include fisheries, forest, biodiversity conservation,protected areas, energy, climate change

NOTE :  students registered in a Human Environment, Environmental Geography, or Environmental Science program may not take this course for credit

GEOG 290/Y (Fall 2025): ENVIRONMENT AND SOCIETY

GIIM 655/A (Fall 2025): SOCIAL RESP & SUSTAIN INVEST

HIST 285/AA (Winter 2025): INTRO TO LAW & SOCIETY

HIST 360/A (Winter 2025): HIST&SOCI GENOCIDE FRM 1945

IRST 371/A (Winter 2025): IRISH CULTURAL HISTORY IN QUEBEC

JOUR 325/01 (Fall, 2023): SOCIAL MEDIA & MOBILE REPORTNG

JOUR 340/01 (Winter 2025): COMMUNICATING SCIENCE W SOCIET

JOUR 642/01 (Winter 2025): SPEC TOP/ JOUR STUDIES - LIFESTYLE JOURNALISM

Lifestyle journalism­—which includes topics such as food and drink, travel, fashion, fitness, health and wellness, leisure, home improvement and décor—first started gaining popularity in the post-World War Two newspaper ‘Women’s Pages.’ The field has since outgrown its traditionally gendered place in newspapers and is now just about everywhere, with news media outlets investing more resources into lifestyle content to attract both offline and online audiences and advertisers. At the same time, new players have entered the field, with lifestyle journalists and social media lifestyle influencers competing for attention in overcrowded digital multimedia spaces. 

Scholars who study lifestyle journalism’s forms and functions generally agree it is a “distinct journalistic field” (Hanusch, 2012) that focuses on providing its audiences ‘news you can use,’ or useful and entertaining information and guidance regarding consumer issues and cultural trends that impact people’s everyday lives.

This course proposes a critical evaluation of lifestyle journalism to provide a deeper understanding of its history, how it has changed, and its possible future(s) as a potentially disruptive form of journalistic storytelling that encourages public discussion and reflection about important social, historical, cultural, economic, and political issues. 

By interrogating specific scholarly texts and analyzing works of lifestyle journalism from across specialties, we will explore the evolution of lifestyle journalism, the field’s close ties to advertising, public relations, and consumer culture, the boundaries drawn between ‘hard’ and ‘soft’ news and lifestyle journalists’ related role conceptions, and lifestyle journalism’s expanding borders and audiences.

Through lifestyle journalism content production workshops and assignments, this course also seeks to help students hone their research and reporting skills through the exploration of various lifestyle topics. The course aims to provide students a supportive space in which they will be encouraged to build confidence in generating original story ideas, explore creative journalistic storytelling methods, and develop their own personal writing styles and voices.  

Thus, the course’s main objectives are to:

(1)  provide students with a deeper understanding of the theoretical and practical underpinnings of lifestyle journalism;

(2)  develop students’ critical thinking, news literary, and analysis skills through exploring works of lifestyle journalism;

(3)  help students hone and apply their research, reporting, and digital multimedia storytelling skills to lifestyle journalism content production.

LING 300/A (Fall 2025): SOCIOLINGUISTICS

MARK 673/AA (Winter 2025): SOCIAL MEDIA MARKETING

PERC 351/GA (Winter 2025): COMMUNITY ARTS:ART/ENGAGEMENT

This studio course introduces the art of engagement in theatre and performance creation practices, combining interdisciplinary art-making with regional, historical Indigenous context. Students gain skills and knowledge in areas such as  when engaging Indigenous narratives. 

The course includes practical explorations to create socially engaged theatre and performance, while sharing visual, symbolic, and language based knowledge, reflecting the historical Indigenous presence on the island. An introductory glance at the contemporary context for the Indigenous sites of significance and the current day urban archeological issues, will ground the site specific research, conducted through two local field trips.

POLI 301/A (Fall 2025): SOCIAL MOVEMENTS&PROTEST POL

POLI 349/A (Fall 2025): POL&SOCIAL THEORY & THE CITY

POLI 412/BB (Winter 2025): COMPARATIVE SOCIAL POLICY

POLI 429/A (Fall 2025): POL SOCI IN CDN&COMP PERSPEC

POLI 683/AA (Summer 2025): SPEC TOPICS IN P.P. & A.

This seminar explores social ecological and political economic issues related to informal urban spaces and strategies for conducting social research in these spaces. Informal green spaces that officials and investors often consider to be wastelands ripe for development are often treasured by urban residents. These spaces become entangled with their sense of place and community, offer respite from the heat and bustle of the city, and are perceived as providing habitat and refuges for biodiversity. Seminar sessions introduce participants to social ecological and political economic issues in informal urban spaces and strategies for conducting qualitative research in these settings. Lab sessions provide participants with practical experience with research techniques for studying these issues in three sites in Montreal: the Champ des Possibles in Mile End, the Falaise St. Jacques in NDG, and a complex of sites in Hochelaga (Boisé Vimont, Boisé Steinberg, and an area known simply as the friche, all near Parc Saint-Clément).

PSYC 325/02 (Fall 2025): FUNDS OF SOCIAL PSYCHOLOGY

PSYC 325/04 (Winter 2025): FUNDAMENTALSS OF SOCIAL PSYCHOLOGY

This 3-credit course is intended to provide you with an overview of the main perspectives, theories, and research methodologies that typify social psychology. Social psychology is the scientific study of how people come to understand individuals, groups, and themselves as social entities. Social psychological processes influence how we perceive, evaluate, remember, and behave towards people. These processes shape, and are shaped by, our social expectations, social roles, social goals, and social interactions. Topics include impression formation, stereotyping and prejudice, and close relationships. As with any survey course, we will not cover every aspect of the field, nor will we be able to study any aspect in great depth. Rather, this course is intended to prepare you for more advanced study on topics in social psychology and related fields that are of interest to you.

 Because we will be discussing key contributions to the field, including ideas that were/are racist or sexist, or offensive in other ways, it is important that these discussions be undertaken most respectfully by everyone in the class. These ideas in no way reflect the views or values of the University or the Instructor.

PSYC 425/03 (Winter 2025): CULTURE, DEVELOP & THE SELF

The official course description for LOYC 330 is as follows: 

 This course examines, from a psychological perspective, how the concept of self varies across cultures. Whereas some cultures embrace the concept of the individual, other cultures emphasize the communal nature of social and personal existence. This theme is explored from several perspectives including theory about development, the treatment of "self" in literature, cultural variations in the concept of human rights, and the link between self and society. This course is intended to demonstrate the interface between the medical and social sciences and the analysis of change.

 The official course description for PSYC 425 is as follows: 

 This course examines cultural variations in developmental processes and outcomes, especially as they are related to the self-concept. Following a presentation of the basic concepts in the understanding of development and of culture, particular domains of development are examined according to how they vary across cultural contexts. Examples of domains include moral development, parent-child interaction, education, and suicide. The overarching goal is to describe human development as taking place within a cultural milieu, the consequences of this perspective for fundamental issues in psychology and the social sciences, and the implications for the challenges of pluralism, globalization, and public policy.

The objective of the course is for you to become familiar with the current theory and research on cultural variations in human development especially as they are related to the “self.”

PSYC 428/02 (Fall 2025): SOCIAL & CULT ADV ISSUES

PSYC 428/40 (Summer 2025): SOCIAL & CULT ADV ISSUES

Topic: Science literacy and writing in the age of misinformation

PSYC 444/02 (Winter 2025): HYPNOSIS AND DISSOCIATION

RELI 312/A (Fall 2025): JUSTICE & SOCIAL CONFLICT

Social Debates and Issues in Public Affairs and Public Policy

Community Organizing 101

This course focuses on understanding power, context and agency, engaging in critical social analysis and developing practical skills required in community organizing. The course explores popular education in community mobilization and collective action, and prepares students to run a successful strategic campaign, including identifying and analyzing targets, tactics, allies and potential opponents.

This course is designed to give students the opportunity to deepen their knowledge of social transformation strategies, and above all to equip themselves to apply them. Focusing on practice and popular education, the pedagogical approach enables students not only to acquire knowledge and skills, but also to equip themselves to pass them on to others in the field. A dynamic, interactive learning environment is created using the flipped classroom. This pedagogical model allows maximum classroom time to be devoted to exercises, discussions and projects.

Objectives:

« Discuss the oppositional approach to community organizing

« Explain power, interests, and balance of struggle

« Analyze a strategic campaign to obtain a demand based on an analysis of power dynamics

« Discuss popular education pedagogy

« Use the basic elements of Socratic dialogue to better understand the course material and practice sharing conversational space in a group.

This course focuses on understanding power, context and agency, engaging in critical social analysis and developing practical skills required in community organizing. It explores popular education in community mobilization and collective action, and prepares students to run a successful strategic campaign, including identifying and analyzing targets, tactics, allies and potential opponents.

This course is designed to give students the opportunity to deepen their knowledge of social transformation strategies, and above all to equip themselves to apply them. Focusing on practice and popular education, the pedagogical approach enables students not only to acquire knowledge and skills, but also to equip themselves to pass them on to others in the field. A dynamic, interactive learning environment is created using the flipped classroom. This pedagogical model allows maximum classroom time to be devoted to exercises, discussions and projects

SOCI 203/AA (Winter 2025): INTRODUCTION TO SOCIETY

SOCI 212/A (Fall 2025): STATISTICS I

SOCI 213/A (Fall 2025): STATISTICS II

SOCI 213/B (Winter 2025): STATISTICS II

SOCI 213/C (Winter 2025): STATISTICS II

SOCI 221/A (Fall 2025) — DIGITAL CULTURE
This course offers a critical examination of the role of electronic communication, information technology, and the Internet in public culture and the organization of social behaviour and interaction.

SOCI 225/A (Fall 2025): SOCIOLOGY THROUGH FILM

SOCI 230/A (Fall 2025): Race & Ethnic Relations

SOCI 230/C (Winter 2025): RACE & ETHNIC RELATIONS

SOCI 244/A (Winter 2025): SOCIOLOGY OF LEISURE

SOCI 261/A (Fall 2025): SOCIAL PROBLEMS

SOCI 275/B (Winter 2025): SELF AND SOCIETY

SOCI 276/B (Winter 2025): GENDER AND SOCIETY

SOCI 284/A (Fall 2025): RISK SOCI & SOCIAL CONTROL

SOCI 300/A (Fall/Winter 2025-26): CLASSICAL SOCIAL THEORY

SOCI 300/BB (Fall/Winter 2025-26): CLASSICAL SOCIAL THEORY

SOCI 310/B (Winter 2025): RESEARCH METHODS

SOCI 310/CC (Winter 2025): Research Methods

SOCI 323/A (Fall 2025): ECON TRANS/CAP SOCIETY

SOCI 329/EC (Winter 2025): SEXUAL LABOUR AND SOCIETY

SOCI 336/A (Winter 2025): COLLECTIVE ACTION

SOCI 363/BB (Winter 2025): LAW AND SOCIETY

SOCI 375/AA (Winter 2025): SOCIAL CONSTRUC. SEXUALITIES

SOCI 378/A (Fall 2025): THE FAMILY

SOCI 378/B (Winter 2025): THE FAMILY

SOCI 383/A (Winter 2025): CONSUMER SOCIETY

SOCI 402/B (Winter 2025): CONTEMPORARY SOCIOL. THEORY

SOCI 404/A (Winter 2025): SOCIOLOGY OF LITERATURE

SOCI 409/A (Fall/Winter 2025-26): HONOURS SEMINAR

SOCI 410/A (Fall/Winter 2025-26): RESEARCH DESIGN & ANALYSIS

SOCI 424/AA (Fall 2025): APPLIED SOCIAL STATISTICS