This course is designed in the tightly controlled space between (national) security and (civil) liberty, student projects, guest presentations, readings and workshop discussions will attempt to develop positive answers to these questions. More specifically, the course will focus on the psychological, economical and political conditions of those who are marginalized and therefore deprived of parrhesia today: the silent victims and witnesses of any kind of social and cultural exclusions. "Parrhesia" was an Athenian right to frank and open speaking, the right that, like the First Amendment, demands a "fearless speaker" who must challenge political powers with criticism and unsolicited advice. Can designer and artist respond today to such a democratic call and demand? Is it possible to do so despite the (increasing) restrictions imposed on our liberties today? Can the designer or public artist operate as a proactive "parrhesiatic" agent and contribute to the protection, development and dissemination of "fearless speaking" in Public Space.

The Introduction to Sociology Course was developed through the Ohio Department of Higher Education OER Innovation Grant. This work was completed and the course was posted in September 2018. The course is part of the Ohio Transfer Module and is also named OSS021. For more information about credit transfer between Ohio colleges and universities, please visit: www.ohiohighered.org/transfer.Team LeadIrene Petten                                                Columbus State Community CollegeContent Contributors Dee Malcuit                                                 Clark State Community CollegeKwaku Oboso-Mensah                               Lorain County Community CollegeAnjel Stough-Hunter                                   Ohio Dominican UniversityLibrarianSherri Saines                                              Ohio UniversityReview TeamEric Jorrey                                                 Central Ohio Technical College 

OER Text materialWhat Is Culture? Chapter 3, subsection 3.1. A subsection of this section notes that culture consists of thoughts (expectations about personal space, for example) and tangible things (bus stops, trains, and seating capacity). Then material culture is defined as the objects or belongings of a group of people. Examples of material culture are given as metro passes, bus tokens, automobiles, stores, and the physical structures where people worship. Nonmaterial culture, in contrast, consists of the ideas, attitudes, and beliefs of a society. Material and nonmaterial aspects of culture are linked, and physical objects often symbolize cultural ideas. A metro pass is a material object, but it represents a form of nonmaterial culture, namely, capitalism, and the acceptance of paying for transportation. Clothing, hairstyles, and jewelry are part of material culture, but the appropriateness of wearing certain clothing for specific events reflects nonmaterial culture. It is noted that material and nonmaterial aspects of culture can vary subtly from region to region. As people travel farther afield, moving from different regions to entirely different parts of the world, certain material and nonmaterial aspects of culture become dramatically unfamiliar.

Subject engages a dialogue with architecture and urbanism from the perspective of the visual artist. Ideas investigated thematically from early modernist practices to the most recent examples of contemporary production. Art making as an adjunct to the design process is challenged by both synthetic and critical models of production. Visual art practice is examined as a conceptual prologue to architectural and urbanistic thinking, as an integrated part of the design process, and as a critical epilogue. Lectures and discussions lead to the development of realized projects to be coordinated with architectural studio. This seminar engages in the notion of space from various points of departure. The goal is first of all to engage in the term and secondly to examine possibilities of art, architecture within urban settings in order to produce what is your interpretation of space.

Focuses on the production of visual art for public places outside the gallery/museum context. Readings and discussions that engage aesthetic, social, political, and urban issues relevant to this expanded public context complement studio production. Traditional approaches of enhancement and commemoration are contrasted to more temporal and critical methodologies. Historical models are studied and discussed, including Russian Constructivist experiments, the Situationists, Conceptual Art, and more recent interventionist tactics.