Simon Fraser University (Canada)
- CMNS 130 D100 – Communication and Social Change (Winter 2018)
- CNMS 253W D100 – Information Technology (Winter 2018)
Center for Urban History of East Central Europe (Ukraine)
- Information City | Media Archaeology + Political Economy (October 2016) /Lecturer/
University of Western Ontario (Canada)
- DC 3209 – Social Media and Organizations (Winter 2016) /Lecturer/
This course provides hands-on experience with building, evaluating, and using social media tools such as blogs, wikis, and social networking websites within an organizational context. Relevant issues such as user privacy, social media policies, effective planning and implementation, and organizational impact will be addressed. Emphasis will fall on the professional and applied applications of this topic. Syllabus
- DC 2001 – Social Media (Fall 2015) /Lecturer/
This course is a study of the principles and production of social media. Students will gain an understanding of online information architecture and organization. We will explore various open source tools available for analyzing data and learn the techniques and critical skills required for creating and managing the content on a variety of platforms including, but not limited to websites, blogs, as well as some major social media platforms. We will begin by pondering the question ‘What is social about social media?’ to explore the notions of online communities, conversations, networks and meshworks along with the principles of their organization and political economy. We will discover that the online sociality is to a big extent nonhuman. The awareness of such nonhuman agency is crucial for a variety of reasons from security to marketing. For example: in order to effectively communicate your message to other human users, you have to make it readable to the intelligent algorithms that index and crawl the web. On the other hand, in the world where disconnection is no longer an option, we need to imagine, build and use the techniques to limit and control the visibility of our data in order to secure it from indexing and crawling, when we do not need that. Many argue that it’s impossible due to the density of technological connection and relations that we maintain through it. Is it the voice of skeptics or realists? We will discuss different takes on that matter in this course. At the very least, we should know more of what is seen to an algorithm behind a user-friendly interface of a social media platform. Syllabus
- MIT 1700 – FYI: Information and Its Social Contexts (Winter 2014) /Lecturer/
A required course for Media Studies major. This course examines the nature of information in its various social, cultural, intellectual and material contexts. It starts with the history of the book and moves towards a consideration of the contested notions of an “information society.” The course is an introduction to critical perspectives on the study of information. Syllabus
University of Missouri (USA)
- ENG 2010 – Multimedia writing (Summer 2011) /Instructor/
An intensive writing course. We discussed and practiced the ways of writing and thinking with technology. The course focused on some of the major topics today’s media and social theory (“medium as the message” and “medium as the massage,” language of new media, copyright, free access, hacking, “@ctivism,” and others). In the course of the semester, students were working on their projects related to one of the mentioned topics. We explored different options of designing presentations, which we treated as “digital writing,” and for which we utilized Prezi, iMovie, PowerPoint, and other types of software. Twitter was used as a facilitator for our class discussions.
- ENG 4060 – Studies in Critical Theory (Spring 2011) /Instructor/
This course in critical theory focused on Lacanian psychoanalysis and his theory of desire was a close reading of Jacques Lacan’s Seminar VI, Desire and Its Interpretations. The course enrolled 20 undergraduate students of different majors. My responsibility was preparing lectures, leading class discussions, and mentoring students’ research for final papers. (This course was a ½ semester substitution for Prof. Ellie Ragland, on leave).
- FILM 1800 – Introduction to Film Analysis (Fall 2010, Spring 2011) /Instructor/
This course introduces students to the basics of film aesthetics, including mise-en-scène, cinematography, editing, narrative, sound, narrative and genre. Balancing our focus on technical elements with broader frameworks, we also consider various critical, theoretical, ideological, and historical approaches to film studies and to the practice of writing about film. A special attention is paid to the specifics of analysis of the big-budget (Bonnie and Clyde, Star Wars), independent (Night of the Living Dead, Do the Right Thing) as well as underground and experimental film (Andy Warhol’s Kiss, Hollis Frampton’s Nostalgia, Maya Deren’s Meshes of the Afternoon, George Kuchar’s Hold Me While I am Naked, Peter Tscherkassky’s Outer Space). Syllabus
- FILM 1820 – Introduction to Film – 1945 to the Present (Spring 2009, Spring 2010) /Instructor/
The course explored the history of film from 1945 to the present by examining the dialogue between national cinemas as well as closely studied film language. Though the course’s emphasis was on film history, we also studied angles, editing, mise-en-scene, slow motion, and film narrative. The course began from the post-war American cinema, through the French New Wave, Western and Eastern European cinema, American underground and experimental film, New Hollywood, origin of blockbuster to so-called “Third World” cinema. Syllabus
- FILM 1810 – Introduction to Film – From the Beginning to 1945 (Fall 2009, Fall 2010) /Instructor/
A survey of the history and key developments of film—as an institution and as an art form—from its beginnings to roughly the end of World War II in 1945. The course was international in scope: in addition to screening a number of American films, we also examined films by Soviet, French, German, Spanish, and Italian directors. We viewed and discussed a range of film genres and movements, including horror (Nosferatu and Cat People), the screwball comedy (It Happened One Night), the thriller (Rope), the western (Stagecoach), the surrealist short film (Un Chien Andalou), Italian Neorealism (Bicycle Thieves), German Expressionism (Nosferatu and M), and film noir (Sunset Boulevard). We considered how film history reflects larger history and how cinema and national culture intersect, including how race, gender, class and sexuality are both represented and regulated within film.
- ENG 2010 – Identity in the Age of Cybercitizenship (Fall 2008, Spring 2009) /Instructor/
An intermediate composition course. This course was focused on the theme of “cybercitizenship” as identification with globally spread communities, and the shifts in understanding and performing identity via networking. The course asked the following questions: What exactly is seen and what can be exposed in the age of fiber optics? How do we come to terms with virtual others? To what extent is our virtual self related to our “real” one? BlogSpot, MySpace, Facebook, the 3D world of Second Life—how do we obtain our citizenship in these domains? How do we translate our identities into the language of those? And do our cyberidentities translate back?
- ENG 1000 – Exposition and Argumentation (Fall 2006-Fall 2008) /Instructor/
A required elementary composition course. Over several years, I designed and taught 11 sections of this course. The course’s typical enrollment is 20 students. The focus of my sections was on the essentials of academic writing, from thesis statements to proper paragraphs to entering academic conversations. Topics included the European autobiographical prose (Franz Kafka, Bruno Schulz, Michel Leiris), writing on photography (Susan Sontag, Roland Barthes) and the themes on technology and media in contemporary society.
Ivan Franko State University (Ukraine)
- Violence and Recognition in Culture (Spring 2004) /Lecturer/
A selective graduate-level course in the Master Program in Cultural Studies. I designed this course with the support of the High Education Support Program’s (HUSP) Research Fellowship in February-August 2003. The course explored the discourse of violence in the works of Marquis de Sade, Leopold von Sacher-Masoch, Friedrich Nietzsche, Georges Bataille, Michel Foucault, René Girard and Gilles Deleuze as well as the representation of violence in performance art and film.