University College Dublin

What is queer art and who makes it? Has there always been queerness in art? This course looks at art-historical practices from a variety of historical, geographical, and social contexts, to explore how queerness, same-sex desire, or “homosexuality” have been represented, and how these representations changed over time, at intersections with their sociopolitical contexts. While the course has a predominantly contemporary focus, it begins with an examination of historical examples of same-sex desire in art before the 19th century. It looks at the modern developments brought by the Enlightenment and scientific progress which first invented and categorized “homosexuality” as a medical category and deviance, prompting 19th century artists to develop an elaborate language of coded homoeroticism. Following this historical introduction to the course, the focus shifts to a thematic approach: it covers a broad range of distinct practices and reflect on many different meanings of queerness, including: the US gay liberation history and the AIDS epidemic; thriving spaces of queer cultures such as waterfront and nightclubs; Irish, Polish, and Jewish queer artistic practices; and gender binary-defying practices of two-spirit Indigenous Americans and Indian Hijras. The course also looks at queer exhibitions and exhibiting queerness in various international contexts, and explores instances of explicit or implicit censorship of same-sex desire in art institutions. The course features a visit to an exhibition.

This course is unique in its focus on the core challenges facing our increasingly 'smart' cities, from their operational functions and planning through to management and control. The course reflects the changes that technology is making to the operation of, and our understanding of, the city, and gives students the technical and theoretical skills needed to make a difference to the cities of today and tomorrow.

This course introduces one of sociology's sister disciplines, social anthropology, which is also referred to as cultural anthropology or ethnology. This course has a theoretical and an applied dimension. In the theoretical portion it introduces classical and modern examples of anthropological theory ranging from B. Malinoswki and C. Levi-Strauss to C. Geertz and J. Diamond. The applied portion uses a variety of examples and field studies ranging from geographically closer regions such as Northern Ireland, the Basque country, and South Tyrol, to more "exotic" regions and examples.

This course makes connections between national and international policies and discourses on migration, asylum, race and ethnicity, and the experiences of the people whose lives are affected by them. The main context is Ireland, but it also includes perspectives and experiences from Europe and beyond, connecting Ireland to a broader world.

One of the big challenges in psychology is to understand how elements of the nervous system, such as neurons, can cooperate to produce high-level operations like perceiving, thinking, acting and consciousness. This course introduces students to biological psychology by way of studying the link between the brain and behavior. Students gain an understanding of how the brain is involved in everything we do; whether it be recognizing faces, getting a good night's sleep or remembering where you left the car keys. The course consists of: Historical Perspectives and The Big Questions; Measuring Brain and Behavior; The Developing Brain; Movement & Action; Sensation and Perception; Executive Functions; Sleep & Dreaming.

This course provides a comprehensive understanding of the United Nations' Sustainable Development Goals (SDGs) and their critical role in shaping global development. It provides the knowledge and skills necessary to critically analyze, evaluate, and contribute to the progress towards these goals, particularly within the context of Sub-Saharan Africa (SSA). It prepares students for a range of professional roles where understanding and facilitating sustainable development is key.

Johannes Vermeer has become a pivotal figure in the Western European art tradition. This is largely due to the hushed solitude and enigmatic themes of his paintings, which seem to give a glimpse of social practices and material culture in the Dutch "Golden Age". This course interrogates some of our preconceptions of Vermeer and his work and to situate him fully within the branch of painting that became his specialty - genre art. The course traces the evolution of genre imagery in Dutch art, from its roots in 15th- and 16th-century printmaking, and the peasant caricatures of Pieter Bruegel, to its apogee in the refined interior spaces of Vermeer and contemporaries such as Gerard ter Borch, and Gabriel Metsu. Lectures focus on key practitioners, groups of related artists such as the Leiden "fine painters" and the Utrecht Caravaggisti, as well as socio-economic and contextual themes. The course also explores contemporary reception and interpretation, the role of the art market in the production of paintings, and the extent to which these engaging, quotidian images are reflective of actual domestic practices in the Dutch Republic of the 17th century. The course makes extensive use of the National Gallery of Ireland's exemplary collection of Netherlandish art.

This course examines the dynamics, roles and politics of culture, art and creative agency in the reproduction and transformation of society. It focuses on the ways art and artists respond to, dismantle and reimagine beyond the discursive and institutional formations that construct difference as ‘problematic’, and the injustices they give rise to. This is an empirically and practice-based course that interrogates the relationships and tensions between knowledge, aesthetics and pedagogy through examination of ground-breaking works of art and scholarship across a range of pressing social justice issues and national contexts. It is interdisciplinary, convening readings from sociology, anthropology, art history and social movement studies. Course materials are gathered across theoretical traditions of feminism, Black, indigenous and queer studies, as well as post-colonial and decolonial studies. There is no ‘textbook’ or singular approach to this area of study. Coursework requires equal measures of weekly scholarly and weekly arts-based work: it involves a variety of exercises using a range of visual art techniques, and students are welcome to experiment with sonic and performative practices for the final project. Completing work on a weekly basis is essential.

Friedrich Nietzsche infamously declared that God is dead. Later, Carl Jung diagnosed the distinctive illness of the twentieth century as that of a godless age in search of meaning. The twentieth century witnessed a rejection of old, official myths (God, the immortal soul, the nation state, etc.), which are supplanted by new ones that first emerge in so-called low, popular culture. Fantasy texts address various crises of meaning, by providing readers and audiences with new myths, new gods. This course explores the connections between fantasy, popular media and crises in the conception of the modern self, as mapped through events such as WWII, the Cold War, the Vietnam War, the Civil Rights Movement, the triumph of late capitalism, and present-day fundamentalist terrorism. Sigmund Freud asserts that fantasy fulfills unconscious wishes, or 'lacks'. What do our enduring popular myths of roughly the last 100 years reveal about us, individually and collectively? Why are characters like Aslan, Superman, Batman and Bilbo Baggins such enduring figures of the modern imagination, easily translating from medium to medium (cheap paperbacks and comics, to film and TV)? Do they represent a hunger for old authority? Or, could they be archetypes of new humanist liberation? The course addresses these questions and others through analysis of a selection of key comics and fantasy texts.

There are two distinct parts to this course. The first few lectures provide students with a general overview of connectionism: its origins as an attempt to model the functioning of the brain, and the various classes of algorithms created starting from these foundations. The second part focuses on the last 10-15 years. The course provides a general framework for designing machine learning models that deal with complex structured data, introduces graphical models and Bayesian networks, and describes inference and learning algorithms for them. The course also addresses the case of neural networks, i.e. to describe possible strategies for effectively training them in real-world scenarios.