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SEMINAR B(1)
| Lecturer(s) | HOENIGMAN, DAVID |
|---|---|
| Credit(s) | 2 |
| Academic Year/Semester | 2025 Fall |
| Day/Period | Mon.4 |
| Campus | SFC |
| Class Format | Face-to-face classes (conducted mainly in-person) |
| Registration Number | 34460 |
| Faculty/Graduate School | POLICY MANAGEMENT / ENVIRONMENT AND INFORMATION STUDIES |
| Year Level | 1, 2, 3, 4 |
| Field | RESEARCH SEMINARS SEMINARS |
| Grade Type | This item will appear when you log in (Keio ID required). |
| Prerequisites(Recommended) | B2413 プロジェクト英語Ｃ/PROJECT ENGLISH C: Subcultures, Indie Rock ’88 to ’98, Heavy Metal, Creative Writing |
| Related Classes | B2413 プロジェクト英語Ｃ/PROJECT ENGLISH C Subcultures, Indie Rock ’88 to ’98, Heavy Metal, Creative Writing |
| Location | SFC |
| Course Requirements | This item will appear when you log in (Keio ID required). |
Student Screening *For conditions regarding "additional permission", please refer to the "Student Screening Details" section. Approval for additional permission is at the lecturer's discretion, and is not guaranteed. | This item will appear when you log in (Keio ID required). |
Screening Method *If selection is by lottery: Complete the course registration process and check your permission status on the course registration screen. If selection is by assignment: Carefully review the "Student Screening Details" section, register for the course via the "Assignment Submission URL," and submit the required assignment. | This item will appear when you log in (Keio ID required). |
| Student Screening Detail | This item will appear when you log in (Keio ID required). |
| Expected Number of Acceptances | This item will appear when you log in (Keio ID required). |
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| Course Description | The Seminar is central to activities at SFC where faculty members and students work together on a diversity of issues as a prelude to the Graduation Project. At SFC, students do not merely learn answers to given problems. Education at SFC aims to nurture and send out leaders of the future who are able to identify problems and create methods of resolving them. Through participation in such research, students work on real problems in society and gain a high level of expertise, and with this in hand, they embark on their Graduation Project that will be their "fruit of designing the future" as well as a personal proposal as they advance towards the future as individuals. |
| K-Number | FPE-CO-05003-212-88 |
| Course Administrator | Faculty/Graduate School | FPE | POLICY MANAGEMENT / ENVIRONMENT AND INFORMATION STUDIES |
|---|---|---|---|
| Department/Major | CO | ||
| Main Course Number | Level | 0 | Faculty-wide |
| Major Classification | 5 | Research Seminars | |
| Minor Classification | 00 | Seminar | |
| Subject Type | 3 | Elective subject | |
| Supplemental Course Information | Class Classification | 2 | Lecture |
| Class Format | 1 | Face-to-face classes (conducted mainly in-person) | |
| Language of Instruction | 2 | English | |
| Academic Discipline | 88 | Comprehensive / Integrated Areas (Interdisciplinary Studies) | |
Course Summary
The Subculture Factory research group will attempt to create its own entirely original subculture from
the ground up. Using a hodgepodge of obscure films, music, writings, and artwork for inspiration and
direction, we will embrace the absurdity of this endeavor and revel in the freedom of thought and
expression that the unlikeliness of immediate renown allots us. Though we will suspect that such
breakthroughs cannot be forced, through the insistence of the instructor we will doggedly manufacture
our shared identity, distinctive meanings, and resistance to “conventional” society. At every turn, we
will ask ourselves, “What would Damo Suzuki do?” In moments of advanced indecision, we will
consult Brian Eno and Peter Schmidt’s Oblique Strategies advice cards. Our forever incomplete,
always expanding, list of heroes will include: Björk, David Lynch, Naoko Yamano, Rob Halford, and
Thundercat. We use the word “factory” in honor of Andy Warhol and the scene that gave birth to the
Velvet Underground, who we believe to be the most important rock band in history. The Subculture
Factory research group hopes to attract artists, musicians, writers, performers, visionaries, enthusiasts
of any kind, and misfits. Our core belief is that destined creative interactions and cross-pollinations
lead to works of staggering beauty.
Classes are built around students presenting research related to subcultural writings, movies, music,
and artwork. The students will present their findings and interactions with this material as research.
They will not simply be describing these works, but developing interpretations while connecting the
work to subcultural theories or sociological concepts. Each class will include students presenting their
research while their classmates give feedback, and the instructor gives detailed guidance. We will focus
on nine subcultures (art scenes, music scenes, creative movements, etc.), before the seminar shifts to
a workshop style Subculture Factory for the last four classes.
the ground up. Using a hodgepodge of obscure films, music, writings, and artwork for inspiration and
direction, we will embrace the absurdity of this endeavor and revel in the freedom of thought and
expression that the unlikeliness of immediate renown allots us. Though we will suspect that such
breakthroughs cannot be forced, through the insistence of the instructor we will doggedly manufacture
our shared identity, distinctive meanings, and resistance to “conventional” society. At every turn, we
will ask ourselves, “What would Damo Suzuki do?” In moments of advanced indecision, we will
consult Brian Eno and Peter Schmidt’s Oblique Strategies advice cards. Our forever incomplete,
always expanding, list of heroes will include: Björk, David Lynch, Naoko Yamano, Rob Halford, and
Thundercat. We use the word “factory” in honor of Andy Warhol and the scene that gave birth to the
Velvet Underground, who we believe to be the most important rock band in history. The Subculture
Factory research group hopes to attract artists, musicians, writers, performers, visionaries, enthusiasts
of any kind, and misfits. Our core belief is that destined creative interactions and cross-pollinations
lead to works of staggering beauty.
Classes are built around students presenting research related to subcultural writings, movies, music,
and artwork. The students will present their findings and interactions with this material as research.
They will not simply be describing these works, but developing interpretations while connecting the
work to subcultural theories or sociological concepts. Each class will include students presenting their
research while their classmates give feedback, and the instructor gives detailed guidance. We will focus
on nine subcultures (art scenes, music scenes, creative movements, etc.), before the seminar shifts to
a workshop style Subculture Factory for the last four classes.
Course Description/Objectives/Teaching Method/Intended Learning Outcome
Students will:
1. take part (through class discussions) in constructing the philosophy behind our subculture
2. research existing subcultural works to be incorporated or expanded upon for our purposes
3. produce materials (music, videos, writing, visual art, fashion, etc.) that illustrate our new subculture
4. give classmates feedback and encouragement on the works they produce
5. think of ways to promote and expand the subculture
6. organize an event that showcases our new subculture
1. take part (through class discussions) in constructing the philosophy behind our subculture
2. research existing subcultural works to be incorporated or expanded upon for our purposes
3. produce materials (music, videos, writing, visual art, fashion, etc.) that illustrate our new subculture
4. give classmates feedback and encouragement on the works they produce
5. think of ways to promote and expand the subculture
6. organize an event that showcases our new subculture
Research Seminar Theme
A research project exploring a subculture, art movement, or music scene
Project Theme (next semester)
A creative work that incorporates elements of the art movements we have explored.
Active Learning MethodsDescription
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Preparatory Study
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Course Plan
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Method of Evaluation
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Textbooks
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