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  • APh 79 abc: Senior Thesis, Theoretical

    9.00 Credits
    California Institute of Technology

    Supervised theoretical research, open only to senior-class applied physics majors. Requirements will be set by individual faculty member, but must include a written report. The selection of topic must be approved by the Applied Physics Option Representative. Not offered on a pass/fail basis. Final grade based on written thesis and oral examThis course cannot be used to satisfy the laboratory requirement in APh. Instructor: Staff.
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  • APh 9 ab: Solid-State Electronics for Integrated Circuits

    6.00 Credits
    California Institute of Technology

    Introduction to solid-state electronics, including physical modeling and device fabrication. Topics: semiconductor crystal growth and device fabrication technology, carrier modeling, doping, generation and recombination, pn junction diodes, MOS capacitor and MOS transistor operation, and deviations from ideal behavior. Laboratory includes computer-aided layout, and fabrication and testing of light-emitting diodes, transistors, and inverters. Students learn photolithography, and use of vacuum systems, furnaces, and device-testing equipment. Instructor: Scherer.
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  • ShareArt 11 - Selected Topics in Art History
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  • Art 119: Art Worlds

    9.00 Credits
    California Institute of Technology

    Among theorists and practitioners of art, the “art world” has come to be seen as a central force in the production of contemporary art. But what is the art world? When and how did it come to assume this remarkable importance? Drawing on resources including social history, philosophical aesthetics, artists’ writings and anthropological theory, this course will examine crucial moments in the formation and changing conception of the art world. Topics include the relation of art worlds to the valuation, collecting, and market for art; the ambivalent relations of the art world to artistic avant-gardes; and the comparative strength of the art world’s position in the age of 21st-century globalization. Objects from local collections, and local collections themselves, will be central to the analysis. The course will include a number of field trips as well as presentations by contemporary artists. Not offered 2012–13.
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  • Art 155: Making and Knowing in Early Modern Europe

    9.00 Credits
    California Institute of Technology

    This course examines interactions between art, science, and technological innovation in Europe and its colonies ca. 1500–1750. It will explore influential arguments that have linked the growth of empiricism in the sciences to naturalism in early modern visual art. Major topics may include the place of artistic training in scientific discovery, the “maker’s knowledge” tradition, and relations of mind to body in early modern visual culture. Objects and images from local collections will be central to analysis. Not offered 2012–13.
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  • Art 169: The Arts of Dynastic China

    9.00 Credits
    California Institute of Technology

    A survey of the development of Chinese art in which the major achievements in architecture, sculpture, painting, calligraphy, and ceramics will be studied in their cultural contexts from prehistory through the Manchu domination of the Qing Dynasty (1644–1911). Emphasis will be placed on the aesthetic appreciation of Chinese art as molded by the philosophies, religions, and history of China. Not offered 2012–13.
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  • Art 183: Spectacle: From the Court Masque to the Great Exhibition of 1851

    9.00 Credits
    California Institute of Technology

    This course examines the ways in which spectacle has been used in early modern and nineteenth-century Europe. Drawing on aesthetic writings about the impact of size and scale on audiences, but also examining historical accounts of the workings of spectacle on spectators, it looks at a number of case studies focusing on the technologies spectacles employed, the sites at which they were staged, the purposes and aims of their creators, and the controversies they engendered. Topics covered include English court masques, the rituals of absolute monarchy (especially those of Louis XIV), the changing presentation of plays and works of art, the public exhibition of torture, punishment, and human dissection, cabinets of curiosity and scientific demonstrations, religious, civic, and political ritual commemoration, the development of mixed media, panoramas and dioramas, and the staging of international exhibitions. Instructor: Brewer.
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  • Art 23: Major Figures in Art

    9.00 Credits
    California Institute of Technology

    A course devoted to the study of a single artist of world importance, the name of the artist to be announced prior to registration. This study, grounded in the artist’s life and, where possible, his/her writings, will analyze and interpret his/her major works in chronological sequence in their artistic and historic contexts, and attempt, by close aesthetic examination, to account for their greatness—and, sometimes, their failure. Not offered 2012–13.
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  • Art 46: The Age of the Great Cathedrals

    9.00 Credits
    California Institute of Technology

    A study of the arts of Western Europe from the disintegration of the Roman Empire circa A.D. 476, to the 14th century. The diverse historical forces at work during this long period produced a correspondingly varied art. Emphasis will be on the later Middle Ages, circa 1200–1350, a period marked by a synthesizing of inherited traditions into a comprehensive whole. Major monuments of architecture, such as the cathedrals of Notre Dame, Chartres, Reims, Cologne, Strasbourg, and Westminster, as well as sculpture, illuminated manuscripts, mosaics, panel painting, and stained glass will be examined within the aesthetic and social framework of countries as culturally diverse as France, Italy, Germany, Spain, and Britain. Not offered 2012–13.
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  • Art 49: From Van Eyck to Rembrandt: Northern European Art, 1400–1650

    9.00 Credits
    California Institute of Technology

    A survey of artistic developments in Northern Europe and Spain from the late Middle Ages through the Renaissance and baroque periods. The course will focus upon the complexity of northern art, from its origins in the still forceful medieval culture of 15th-century Flanders, to its confrontation with Italian Renaissance humanism in the 16th century. The effects of this cultural synthesis and the eventual development of distinct national schools of painting in the 17th century are examined through the works of the period’s dominant artists, including Van Eyck, Dürer, Holbein, Velázquez, Rubens, Hals, and Rembrandt. Not offered 2012–13.
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