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Richard Johnny John, Jerome Rothenberg, Ian Tyson - Three Friendly Warnings, Tate Museum

Richard Johnny John, Jerome Rothenberg, Ian Tyson - Three Friendly Warnings

MFA Program

The MFA Program in Writing  welcomes brave and innovative writers and encourages the formation of mutually-supportive, inspiring literary communities. The program is small, with typically 4 to 8 new students admitted and funded each year. The intimate nature of the program allows students to work very closely with writing faculty and each other within the quarterly cross-genre workshop.

The MFA program is a two-year residency program foregrounding the interconnectedness of literary arts practice, modes of production and distribution, and the rigorous study of literatures, arts, and cultures. The program offers the option of extending residency a third year.

All graduate writing workshops are cross-genre and often interdisciplinary, investigating and often undermining a studio-versus-academic distinction in advanced literary education. Moreover, the program encourages interdisciplinary research and holistic approaches to teaching and learning. Therefore, teaching creative-critical reading and writing skills as a Teaching Assistant is a popular choice among all Writing students in the MFA program, most of whom are eligible for scholarships and fellowships in addition to union-represented compensation for Teaching Assistant work.

Program participants are encouraged to focus exclusively on writing, teaching, research, and art-making during their residency, allowing writers to integrate pedagogical training and artistic practice as a way to prepare for future scholarly endeavors while creating a book-length work of literature. To that end, each quarterly cross-genre workshop discusses writing-in-progress and published works in terms of poetics, prosody, and literary conventions alongside the interrelationship between aesthetic intervention/ experiment and radical social change across cultures, nations, regions, and movements.

While each writer’s extra-departmental coursework is flexible, program participants are expected to take five workshops. The cross-genre workshops function less as editorial sessions or as explications of craft techniques than as vibrant skill-sharing intellectual roundtables. UCSD’s writers generate dazzlingly diverse collaborations in writing and literary/arts events, many of which result in various forms of publication. Both faculty and graduate projects tend to repurpose, interweave, hack, and muddle generic categories and/or radically elasticize their conventions.

UC San Diego is a tier-one research university respected internationally for untangling mysteries and manifesting world-altering possibilities in the arts, humanities, and sciences. The MFA in Writing is part of the Department of Literature, a world literature department with a focus on critical theory, social justice, and cultural, ethnic, and gender studies, where faculty members work in multiple languages, geographies, and historical periods. All graduate writing workshops are offered in English, but program participants may work with Literature and extra-departmental faculty on bilingual or multilingual projects, including works in translation.

With ties to Visual Arts , Music , Ethnic Studies , Science Studies ,  the Clarion Science Fiction and Fantasy Writers' Workshop  and the Arthur C. Clarke Center for Human Imagination , along with other departments, centers, and programs, unprecedented entanglements of artistic and scholarly experimentation are encouraged. The MFA program co-exists with a thriving undergraduate writing major and benefits from the long-established New Writing Series and the Archive for New Poetry . Current MFA Writing Faculty include Ben Doller , Camille Forbes , Lily Hoang , Brandon Som , and Anna Joy Springer . Emeriti Writing Faculty include Rae Armantrout and Eileen Myles .

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The Clarion Science Fiction and Fantasy Writers' Workshop

Learn about clarion.

Training writers of science fiction and fantasy since 1968.


The incredible instructors we have for the 2024 workshop!

Applications for Clarion 2024 are open December 1, 2023 to March 1, 2024!

June 23 – August 3, 2024

Clarion science fiction and fantasy writers’ workshop at uc san diego.

Established in 1968, the Clarion Science Fiction and Fantasy Writers’ Workshop is the oldest workshop of its kind and is widely recognized as a premier proving and training ground for aspiring writers of fantasy and science fiction.

Workshop Applications

Applications for the 2024 Clarion Science Fiction and Fantasy Writers’ Workshop are open from December 1, 2023 to March 1, 2024.

Our 2024 Instructors

Sam j. miller.

Sam J. Miller‘s books have been called “must reads” and “bests of the year” by USA Today, Entertainment Weekly, NPR, and O: The Oprah Magazine, among others, and have been translated into nine languages. His work has won the Nebula, Locus, Shirley Jackson, and Subjective Chaos Kind of Awards, as well as the hopefully-soon-to-be-renamed John W. Campbell Memorial Award. He’s also the last in a long line of butchers. Sam lives in New York City.

Jeffrey Ford

Jeffrey Ford was born on Long Island in New York State in 1955 and grew up in the town of West Islip. He studied fiction writing with John Gardner at S.U.N.Y Binghamton. He’s been a college English teacher of writing and literature for thirty years. He is the author of nine novels including The Girl in the Glass and five short story collections, including A Natural History of Hell . He has received multiple World Fantasy and Shirley Jackson awards as well as the Nebula and Edgar awards among others. He lives with his wife Lynn in a century old farm house in a land of slow clouds and endless fields.

Matt Bell is the author most recently of the novel Appleseed (a New York Times Notable Book) and the craft book Refuse to Be Done , a guide to novel writing, rewriting, and revision. He is also the author of the novels Scrapper and In the House upon the Dirt Between the Lake and the Woods , as well as the short story collection A Tree or a Person or a Wall , a non-fiction book about the classic video game Baldur’s Gate II, and several other titles. His writing has appeared in The New York Times, Esquire, Tin House, Fairy Tale Review, American Short Fiction, Orion, and many other publications. A native of Michigan, he teaches creative writing at Arizona State University. His novel In the House upon the Dirt between the Lake and the Woods was a finalist for the Young Lions Fiction Award and an Indies Choice Adult Book of the Year Honor Recipient, and was selected as the winner of the Paula Anderson Book Award, among other honors. Both In the House and Scrapper were selected by the Library of Michigan as Michigan Notable Books. 

Nalo Hopkinson

Nalo Hopkinson was born in Jamaica, and spent the first 16 years of her life in Jamaica, Guyana, Trinidad and the US before her family moved to Canada. She writes science fiction and fantasy, exploring their potential for centering non-normative voices and experiences. Her first novel, Brown Girl in the Ring, won the Warner Aspect First Novel Contest in 1998. She has published six novels and numerous short stories. Her writing has received the John W. Campbell Award, Locus Magazine’s Best First Novel Award, the Sunburst Award for Canadian Literature of the Fantastic, the World Fantasy Award, the Andre Norton (Nebula) Award, the Gaylactic Spectrum Award, the Inkpot Award, the Octavia E. Butler Memorial Award, and Canada’s Prix/Aurora Award. From 2018 to 2020, she was the lead writer of “House of Whispers” (co-writer Dan Watters), a series of comics published by DC Comics and set in the universe of Neil Gaiman’s “Sandman.” She has received honorary Dr of Letters degrees from Anglia Ruskin University and the Ontario College of Art and Design University. Hopkinson has been a Writer-in-Residence a number of times at the Clarion Science Fiction and Fantasy Writers’ Workshops in San Diego, California and Seattle, Washington. She was the editor of the fiction anthologies Mojo: Conjure Stories , and Whispers From the Cotton-Tree Root: Caribbean Fabulist Fiction . She was co-editor of So Long Been Dreaming: Postcolonial Science Fiction (with Uppinder Mehan), Particulates (with Rita McBride), Tesseracts 9 (with Geoff Ryman), and the fiction editor (with Kristine Ong Muslim) of “People of Colo(u)r Destroy Science Fiction,” a special issue of Lightspeed Magazine. Hopkinson was one of the founders of the Carl Brandon Society, which exists to further the conversation on race and ethnicity in speculative fiction. As a professor of creative writing at the University of California Riverside, she was a member of a research cluster in science fiction, and of the University of California’s “Speculative Futures Collective.” In 2021 the Science Fiction Writers of America honored her with the Damon Knight Memorial “Grand Master” Award, recognizing her lifetime of achievements in writing, mentorship and teaching. In 37 years she was the youngest person to receive the award, and the first woman of African descent.

Alyssa Wong

Alyssa Wong writes award-winning fiction, comics, novels, and games. Their stories have won the Nebula Award, the World Fantasy Award, and the Locus Award. Alyssa was a finalist for the John W. Campbell Award for Best New Writer, and their fiction has been shortlisted for the Hugo, Bram Stoker, and Shirley Jackson Awards. Alyssa’s comic credits include Star Wars: Doctor Aphra, Marve l (S hang-Chi, Iron Fist, Alligator Loki, Extreme Carnage) , DC ( Batwoman, Wonder Woman, Spirit World) , and Adventure Time . In 2023, Alyssa joined the S tar Wars: The High Republic storytelling initiative and their debut novel will be released in January of 2024. Alyssa has also written for Overwatch and Blizzard Entertainment’s Story and Franchise Development.

Isabel Yap writes fiction and poetry, works in the tech industry, and drinks tea. Born and raised in Manila, she has lived in the US since 2010. She holds a BS in Marketing from Santa Clara University and an MBA from Harvard Business School. Her debut story collection, Never Have I Ever , was published in 2021 by Small Beer Press and won the British Fantasy Award for Best Collection. Her work has been a finalist for the Ignyte, Locus, Crawford, and World Fantasy Awards, and has appeared in venues including Lithub and Year’s Best Weird Fiction.

Jac Jemc (Faculty Director)

Jac Jemc teaches creative writing at UC San Diego. Her story collection False Bingo won the Chicago Review of Books Award for fiction, is a finalist for the Lambda Literary Award for LGBTQ Speculative Fiction, and was longlisted for The Story Prize. Her novel Empty Theatre was published in February 2023 by MCD x FSG. Her novel The Grip of It was released from FSG Originals in August 2017, receiving starred reviews in Publishers Weekly, Kirkus and Library Journal, and recommended in Entertainment Weekly, O: The Oprah Magazine, Marie Claire, Esquire, W, and Nylon. Her stories have appeared or are forthcoming from Guernica, LA Review of Books, Crazyhorse, The Southwest Review, Paper Darts, Puerto Del Sol, and Storyquarterly, among others. Jemc is also the author of My Only Wife (Dzanc Books), named a finalist for the 2013 PEN/Robert W. Bingham Prize for Debut Fiction and winner of the Paula Anderson Book Award; A Different Bed Every Time (Dzanc Books), named one of Amazon’s Best Story Collections of 2014; and a chapbook of stories, These Strangers She’d Invited In (Greying Ghost Press). Jac received her MFA from the School of the Art Institute of Chicago and has completed residencies at the Oberpfälzer Künstlerhaus, Hald: The Danish Center for Writers and Translators, Ragdale, the Vermont Studio Center, Thicket, and VCCA.

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The parent organization of the Clarion Science Fiction and Fantasy Writers’ Workshop.

Arthur C. Clarke Center for Human Imagination

Research center on the phenomenon of imagination. Host and coordinator of the Clarion Workshop since 2012.

UC San Diego

Leading public university with the most alumni to go on to be professional writers of speculative fiction.

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Residential Courses

Instructor: Isadora Petrovsky Instructor Email:  [email protected] Dates: July 7 - July 27 Schedule: 9am - 4pm (Lunch from 11:30am - 1:30pm) Location: TBD Room: TBD

Course Description

This course introduces students to the tenants of fiction writing, from crafting compelling characters the reader is deeply invested in to writing lush descriptions of a world of their own making. Students will create one work of short fiction by the end of the course. This work of short fiction will be extensively workshopped in a collaborative creative environment both by students’ instructor and their peers.

Learning Outcome

In a collaborative environment, practice using writing as a tool for creativity/self-expression and to begin to understand how fictional stories are crafted.

Course Topics

  • Craft of Short Fiction
  • Character Arcs, Plot Arcs, and Subverting/Utilizing the Hero’s Journey
  • Scene, Summary, and Exposition
  • Characterization + Worldbuilding
  • Writing as Imaginative Expression


The ability to tap into your imagination!

*Courses vary by experience and exposure to content. Instructors have the ability to change content and pace to serve the needs of students. Courses have been modified for online teaching.

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Young Writers' Camp (YWC)


Teachers working with San Diego Area Writing Project share the belief that writing is a process. Young Writers' Camp engages students in that process and allows them to discover their own style, voice and potential. Our goal is that each young writer, regardless of skill level, has the time and space to experiment in a variety of genres while developing creativity and confidence.

"My daughter absolutely loved this camp. The positive encouragement, new friendships and creativity she found has sparked a fondness for writing that did not exist before."

"My son loved your camp! You have a great, enthusiastic staff and a super program. The works he created and brought home blew us away! I'm really proud of him and what he accomplished during your program. We are looking forward to doing it again next year."

"Initially, I thought she would be bored out of her mind. Every day when I picked her up she was happy and full of energy. I believe the creative writing experience positively impacted my child's mind."

"He had a blast! The first day he was excited to inform me that 'this is different from school and it is really cool.' And I saw him working on his writing after camp at home--during the summer--that shows how engaged he was! Thank you for such a wonderful experience."

Basic Information

What is young writers' camp.

Young Writer's Camp is a 10-day summer program that inspires creative thinking and writing. Students explore writing styles and methods of self-expression with new friends.

Participating Young Writers:

  • are challenged to grow and build self-confidence as writers.
  • write in an environment designed to inspire creativity.
  • receive individual attention in small groups from SDAWP writing teachers.
  • meet and share writing in a multi-age classroom with young writers from throughout the county.
  • engage in process writing: drafting, writing, revising, editing and publishing.
  • publish and receive an anthology, including writing from each camper.
  • develop writing skills as tools for self-expression.

Who should attend?

Programs are offered for students entering grades 3rd-9th grade. Classes will be split up by grade level bands such as: 3-5, 5-7, 7-9. 

Where will camp be held?

When will camp be held.

Young Writers' Camp 10-days is back this summer from July 10-21, 2023.

How do I register my child?

Registration for all Young Writers' Camp programs for Summer 2023 will be via Eventbrite. 

How much does camp cost?

Registration cost for the YWC 10-day camp is $400 per camper. This includes all materials.  Registration costs for all SDAWP camps include a $50 non-refundable processing fee.

Are there scholarships available for camp?

A limited number of partial scholarships are available for these programs. Please email our office at sdawp.ucsd.edu to see if your family qualifies for a need-based scholarship. Click here to access this summer's Scholarship Application. 

SDAWP's COPPA Statement

SDAWP and YWC cares about your child's privacy and safety. View COPPA Statement (Word file) . 

The San Diego Area Writing Project at UCSD recognizes that writing is a catalyst for the broad expression of ideas and opinions. We consider written expression by participants in our programs to be an opportunity for further dialogue and discussion. Teachers facilitating our programs make every effort to provide an environment that allows for all opinions and ideas to be shared, within the context of appropriate audience.

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Writers' Workshop: Read and Critique

­­­Literary criticism is not a form of negatively critiquing a writing piece, but rather conscientiously and carefully analyzing written works through various lenses. Reading and critiquing are possibly the only ways for writers to know how their writing sounds to readers and critics alike. This class will create a safe, collaborative space where students will learn to give and receive thoughtful, objective, and constructive feedback so they may effectively convey their desired messages and reach their intended audiences.   In this course, we will discuss how the history and current field of literary criticism shapes the publishing industry today. We will examine how readers, writers, and critics of all skin colors, genders, and nationalities bring a mosaic of viewpoints, experiences, genres, ages, and themes to their roles. We will explore the ways that individuals’ identities affect the interpretation of a text, and how being aware of this can help you to artfully sculpt your own writing.   Through lectures, writing exercises, readings from diverse writers across genres, and small group critiques, you will cultivate the necessary skills for a mindful approach towards writing and reading critically in your everyday practice.  

Course Number:  WCWP-40252 Credit:  3.00 unit(s) Related Certificate Programs:   Creative Writing

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Synchronous web-based class meetings that are scheduled to meet online at published times (time/date).

Carothers, Crystal Headshot

Carothers, Crystal

Crystal Carothers, M.Ed., teaches various writing courses for UC San Diego Extension's Copyediting Certificate and Creative Writing Certificate , as well as ESL at the English Language Institute. She is a California-born educator who has taught English as a second language around the world. Crystal graduated with her Bachelor's degree in Political Science from the San Francisco State University in 2006. Following the completion of her Bachelor's degree, she earned her TEFL teaching certificate in Madrid, Spain. After years of living and teaching abroad, she moved back to San Diego to continue her education with a Master’s of Education in TESOL from Alliant International University. Currently, Crystal teaches various writing and English courses at both UC Sa... Read More

Steering the Craft: A Twenty-First Century Guide to Sailing the Sea of Story 1st by Ursula K. Le Guin ISBN / ASIN: 9780544611610

You may purchase textbooks via the UC San Diego Bookstore .

No refunds after: 1/15/2024. Early Enrollment Discount: $470 ($495 if enrolled after 12/11/2023).

This class is Live Online. All sessions are scheduled to meet via Zoom at published dates and times. Your instructor will email you instructions for accessing the course.

There are no sections of this course currently scheduled. Please contact the Arts, Humanities, Languages & Digital Arts department at 858-534-5760 or [email protected] for information about when this course will be offered again.

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All courses, faculty listings, and curricular and degree requirements described herein are subject to change or deletion without notice.

Mohammad Kazim Ali, MFA, Creative Writing

John D. Blanco, PhD, Literatures of the Americas

Alain J.-J. Cohen, PhD, Comparative Literature and Film Studies

Cristina Della Coletta, PhD, Italian Literature; Dean, School of Arts and Humanities

Page duBois, PhD, Classics and Comparative Literature

Sara E. Johnson, PhD, Comparative Literature

Todd C. Kontje, PhD, German and Comparative Literature

Lisa Lampert-Weissig, PhD, English and Comparative Medieval Studies

Ping-hui Liao, PhD, Chuan Lyu Endowed Chair in Taiwan Studies

Daisuke Miyao, PhD, Hajime Mori Chair in Japanese Language and Literature

Shelley Streeby, PhD, American Literature

Daniel J. Vitkus, PhD, Rebeca Hickel Chair in Early Modern Literature

Oumelbanine Zhiri, PhD, French Literature

Teaching Professor

Jaclyn Jemc, MFA, Creative Writing

Associate Professors

Amy Sara Carroll, PhD, Literature, Creative Writing

Gloria E. Chacon, PhD, Indigenous Literatures of the Americas

Dennis Childs, PhD, African American Literature and Culture

Ben Doller, MFA, Creative Writing, Poetry, and Poetics

Camille Forbes, PhD, Nineteenth-Century African American Literature and Culture

Amelia Glaser, PhD, Slavic and Comparative Literature

Lily Hoàng, MFA, Literature, Creative Writing

Dayna Kalleres, PhD, Early Christian Literature and Religious Studies

Joo Ok Kim, PhD, English Literature

Jin-Kyung Lee, PhD, Comparative Asian Literature and Culture

Luis Martín-Cabrera, PhD, Spanish Peninsular and Latin American Literature

Jacobo Myerston, PhD, Classics and Comparative Literature

Hoang Nguyen, PhD, Literature, Cultural Studies

Babak Rahimi, PhD, Islamic and Religious Studies

Brandon Som, PhD, Literature, Creative Writing

Anna Joy Springer, MFA, Creative Writing and Literary Arts

Erin Suzuki, PhD, Asian American and Pacific Island Literatures

Ameeth Vijay, PhD, Modern and Contemporary Global Literatures in English

Kathryn Walkiewicz, PhD, Nineteenth-Century Literatures and Cultures of the United States

Megan E. Wesling, PhD, US Literatures

Associate Teaching Professors

Ryan Bessett, PhD, Spanish Language and Literature

Géraldine Fiss, PhD, East Asian Literature

Assistant Professors

Carol Arcos Herrera, PhD, Latin American Culture, Gender, and Sexualities Studies

Gabriel Bámgbóṣé, PhD, African and Comparative Literature

Amanda Batarseh, PhD, Arabic and Comparative Literature

José Carvajal Regidor, PhD, Spanish and Comparative Literature

Edward Kelting, PhD, Mediterranean Studies, Latin Literature

Casandra Lopez, MFA, Creative Writing

Andrea Mendoza, PhD, Japanese and Comparative Literature

Silpa Mukherjee, PhD, Film and Media, Global South, and Cultural Studies

Ariana Ruíz, PhD, Chicanx Studies

Marco Wilkinson, MFA, Creative Writing

Professors Emeriti

Rae Armantrout, MA

Ronald S. Berman, PhD

Robert Cancel, PhD

Steven Cassedy, PhD

Jaime Concha, PhD

Charles R. Cooper, PhD

Stephen D. Cox, PhD

R. Michael Davidson, PhD

Abraham J. Dijkstra, PhD

Anthony Edwards, PhD

Margit Frenk, PhD

Richard Elliot Friedman, ThD

Marcel Hénaff, PhD

Fanny Q. Howe

Alexandra Isfahani-Hammond, PhD

Stephanie H. Jed, PhD

Susan Kirkpatrick, PhD

Seth Lerer, PhD

Lisa M. Lowe, PhD

James K. Lyon, PhD

Jorge Mariscal, PhD

Louis Adrian Montrose, PhD

Eileen Myles, BA

Roy Harvey Pearce, PhD

Roddey Reid, PhD

Jerome D. Rothenberg, MA

Rosaura Sánchez, PhD

Kathryn Shevelow, PhD

William S. Tay, PhD

Nicole Tonkovich, PhD

Quincy Troupe

Pasquale Verdicchio, PhD

Donald T. Wesling, PhD

Wai-lim Yip, PhD

Yingjin Zhang, PhD

Associate Professors Emeriti

Jack Behar, PhD

Richard S. Cohen, PhD

David K. Crowne, PhD

Thomas K. Dunseath, PhD

Milos Kokotovic, PhD

Margaret Loose, PhD

William A. O’Brien, PhD

Max Parra, PhD

Fred V. Randel, PhD

Marta E. Sánchez, PhD

Cynthia Walk, PhD

Don Edward Wayne, PhD

Winifred Woodhull, PhD

Adriana de Marchi-Gherini, PhD, Italian Language and Literature

Eva Fischer-Grunski, German Language

Jeyseon Lee, PhD, Korean Language

Catherine Ploye, PhD, French Language and Literature

Rebecca Wells, CPhil, Russian Language and Literature

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Requirement Overview

Program Requirements

  • Coursework, 72 units
  • Annual Drifting Critiques

First Year Review

Second year exhibition, thesis presentation.

VA75- 18 courses, 72 units

CORE REQUIREMENTS   (13 courses, 52 units)

  • VIS 201- Contemporary Critical Issues
  • VIS 202- Art practice
  • VIS 203- Working Critique
  • VIS 205- Intro to Graduate Studies in Art Practice
  • VIS 208- Thesis Exhibition
  • VIS 209- Thesis Writing
  • VIS 210-219 (1 course, 4 units)- Art Theory/Practice
  • VIS 206, 230-262 (1 course, 4 units)- Art History Seminar
  • VIS 295- Individual Studies
  • VIS 500- Apprentice Teaching
  • VIS 502- Graduate Teaching in Visual Arts
  • Other Department 200-289 (1 course, 4 units)
  • Graduate Course (VIS 200+), any graduate course in VIS
  • Graduate Research (VIS 299), a maximum of 3 may be taken
  • Undergraduate Courses (upper-division), a maximum of 4 may be taken 
  • Directed Group Study (VIS 298), a maximum of 1 may be taken

Quarter-by-Quarter Planning

This represents a general academic plan for students to appropriately make progress year-to-year within the MFA curriculum. Students are STRONGLY encouraged not to overenroll in courses. Each quarter that students are employed as a TA, they will also enroll in the corresponding VIS 500 course for 4 units with the MFA Faculty Director. Each quarter students must be enrolled in a minimum of 12 units.

Students are required to meet with an academic advisor annually regarding their academic planning.

Drifting Studio Visits

All graduate students participate in one required Drifting Studio Visit each year which is held on  Friday, Week 8 of Winter Quarter, in conjunction with Open Studios.

Graduate students are required to present current work and/or research in-progress in their studio for 20-25 minutes and engage in discussion with an interdisciplinary panel of three Faculty during their visit. 

Drifting Studio Visits for first and second year MFAs serve to introduce students to a diversity of Faculty perspectives, art making practices and facilitate conversation in service of Thesis Committee formation. 

The Third Year Drifting Critique, also known as the Antin Prize Committee Critique, takes survey of third year students' work, discusses progress toward Thesis, and will also assess the originality and creativity of the work and select one winner for the David Antin Prize. This is a $1,000 prize that will be announced during the Winter Quarter Open Studios.

The constituency of the panel will change quarterly, with an attempt to represent the breadth of the art making practice within the department.

During the Spring Quarter of your first year, you will make a formal presentation of your body of work to your Provisional Faculty Advisor. The First Year Review consists of: 

Exhibition-  This shall include work produced during your first year in the MFA program. These presentations are held in the Commons Gallery (VAF 404, or other VAF spaces with approval of Facilities staff and the MFA Faculty Director), and weeks are assigned by lottery. Your presentation must be open to Faculty and Cohort for at least three days. You will be required to meet with your Provisional Faculty Advisor but should plan to invite other Faculty you are interested in learning from to view your exhibition to discuss your work.  

Artist Statement - An artist statement that considers the formal and conceptual aspects of the work in your First Year Review show. Statement should be up to 1500 words. 

Oral Exam - You will need to schedule a two-hour oral examination/review meeting with your Provisional Faculty Advisor in the Commons Gallery. During this time, they will review your work, artist statement and its relationship to the field of art. Feedback will be provided to the student in the form of oral or written notes by the Provisional Faculty Advisor, either at the end of the exam or within one week following the exam date. 

This presentation is considered a required departmental examination. Passing the First Year Review implies that you are doing well and making appropriate progress towards your degree completion. If the work presented at the First Year Review is considered unsatisfactory, you will have to rework the material over the summer in order to finalize the First Year Review at the beginning of the Fall Quarter of your second year. After this extension, continued unsatisfactory completion of the First Year Review will result in your withdrawal from the MFA Program.

Student Process:

  • Book gallery space (week as randomly selected during orientation) and reserve any equipment necessary.
  • Cordinate with your Provisional Faculty Advisor the scheduling for your oral exam (approximately 2 hours).
  • Complete Artist Statement and provide to your Provisional Facutly Advisor two weeks before your exhibition week.
  • Install exhibition.
  • If the First Year Review is passed, complete the First Year Review form  which will automatically route to your Provisional Faculty Advisor and Student Affairs Manager for processing.
  • If there are concerns regarding the progress of the work, your Provisional Faculty Advisor notes concerns on form with plan for next steps.

Spring Evaluations

The Division of Graduate Education and Postdoctoral Affairs (GEPA) requires that all MFA students be evaluated annually. To complete this evaluation:

  • During the Spring Quarter of your first and second years in the program, department staff initiate the electronic review form with an email to your @ucsd.edu email address. This email contains a link to the evaluation system and instructions for you to complete your self-assessment. 
  • Once your self-assessment is complete, your Faculty Advisor will submit an evaluation of your progress for that academic year. 
  • Once your Faculty Advisor has provided feedback, you will review their response and sign the form.
  • Lastly, the completed evaluation will be routed to GEPA for formal archiving with your academic records.

These evaluations serve as an important tool for students and advisors in assessing student progress, while also providing suggestions for students’ successful completion of the program. Spring Evaluations are important narrative documentation that illustrates your progress in the MFA Program, other than the official transcript. The Spring Evaluations are also reviewed and relied upon by GEPA if the department submits any requests for any exception to policy on your behalf.

During the Winter Quarter of your second year, you will make a presentation of your body of work to your Faculty Advisor, other invited Faculty and your cohort. The Second Year Exhibitions are held bi-weekly during Winter Quarter with multiple solo shows held at the same time. Location and weeks are assigned, in consideration of preferences, by the MFA Faculty Director. You should meet with your Faculty Advisor, and  invite other Faculty you are interested in learning from, to view your exhibition to discuss your work. This is especially important as in the Spring Quarter of the second year you will constitute your Thesis Committee. You have an opportunity during your Second Year Exhibition to meet with potential committee members to discuss your work, their availability and interest in supporting you during your third year.

This is an opportunity to evaluate your progress, ask questions of your Advisor, Faculty, and fellow grad students and work through your creative ideas and research to date.

  • Book gallery space (week and location as assigned by the MFA Faculty Director) and reserve any equipment necessary.
  • Cordinate with your Faculty Advisor, and other fauclty, a time to complete a Studio visit to view your Second Year Exhibition.

Committee Constitution and Management

About the committee.

During the Spring Quarter of your second year, you will need to formally constitute your Thesis Committee. The members of your committee will supervise the preparation of your Thesis and evaluate the Thesis presentation. Your committee is selected in consultation with your Faculty Advisor and with each member's consent. In preparation for Committee formation, you should have met with each proposed member at least once for a studio visit or equivalent meeting. It is greatly advised that you discuss your research and creative plans, your expectations for Committee engagement, and understand the proposed Faculty members' availability and method of advising.

 The membership of your MFA Thesis Committee must include:

  • Three tenured or emeriti faculty from the Visual Arts Department
  • One tenured or emeritus member from outside of the Visual Arts Department

Expectations for Committee Members

You should plan to meet with your Committee members on a regular basis for studio visits, advising, or equivalent, as needed. Individual Faculty work with MFA students in different ways according to their pedagogy and availability, so please consider what your expectations for Committee participation means for you. This could be one studio visit per quarter, for example, but must be discussed and agreed upon in advance of your formal committee formation so that expectations for Committee participation are clearly understood. The MFA Program Director is available to help discuss these questions and advise in the case of Thesis Committee questions, concerns or other issues.

Submitting Your Committee

The completed committee form must be electronically submitted to the Graduate Division by the Student Affairs Manager. Please complete the   Committee Constitution form  which will automatically route to the Student Affairs Manager for processing.   This request must be made during Spring Quarter of the Second Year.

Changing Your Committee

If for any reason you need to make changes to your Committee Chair or Committee membership, you need to first check-in with your Advisor/Committee Chair and/or the MFA Faculty Director. In consultation with them, it will be determined whether a formal change in membership is necessary.  In this situation, the   Committee Reconstitution Request  needs to be submitted to the Student Affairs Manager for processing. This request must be made and fully processed prior to the Thesis presentation.

Advancement to Candidacy

The Advancement to Candidacy is an important step towards degree completion. Advancement indicates that you have completed or are in progress to completing the required coursework, evaluations and critiques for the MFA Program and have only the Thesis and defense to complete. To Advance to Candidacy, you must:

  • Enroll in the last of your required coursework. For most students this is Fall Quarter of the third year.
  • Once enrolled in the last of your required coursework, send a message to [email protected]
  • Staff will complete the GEPA forms necessary to process your Advancement to Candidacy. 
  • GEPA will formally record your Advancement quarter as a part of your student record.

Once Advanced to Candidacy, you will still need to enroll in 12 units minimum for each of your remaining quarters to ensure that you are meeting the UCSD enrollment criteria for funding. To reach 12 units each quarter during the remainder of your third year,  you will enroll in 8-12 units of VIS 299 and 0-4 units of VIS 500. Departmental staff will properly advise you regarding the course enrollment that you need during this time. 

Students who have Advanced to Candidacy are eligible for Associate-In positions.

Thesis Structure

Oral Examination— Your Thesis Committee will administer an oral examination covering your work and its relationship to the field of art.  You should plan to have the oral exam scheduled during the presentation of work. If needed, the oral exam could occur after the formal presentation of work, with approval of all Committee members. Since scheduling of these exams is very complex, you are asked to plan as early as possible with your Committee. 

Written Thesis— A Thesis is a research paper that demonstrates and investigates the context, process and purpose of your work.  The written Thesis should be produced out of discussion with your Committee Chair and in dialogue with the VIS 209 Thesis writing seminar.  It should be 7,000 words minimum with illustrations, footnotes and addendum as appropriate.  All written material must comply with the GEPA formatting guidelines. The formatting manual and information regarding the submission of the Thesis can be found here . GEPA has Thesis formatting workshops at the beginning of each quarter. You will receive an email when those dates are announced.

Typical Timeline for Spring Thesis

      Fall Quarter

  • Enroll in remaining MFA required coursework, refer to individual academic plan. After fully enrolled for Fall Quarter, send notification to the Student Affairs Manager via [email protected]  so they can process the Advancement to Candidacy paperwork.
  • Attend Thesis Planning Meeting with MFA Faculty Director and Facilities staff. 
  • Submit week and location preference to MFA Faculty Director for Thesis Exhibition scheduling.
  • Reconnect with all Committee Members and confirm participation.
  • Thesis Paper Draft submitted to Advisor/Committee Chair.
  • Once Thesis week and location has been assigned, book the gallery space, reserve necessary equipment and notify Faculty Advisor and Committee Members.

      Winter Quarter

  • Enroll in VIS 299 (8 units) with Committee Chair and VIS 500 with MFA Faculty Director.
  • Confirm with Committee their Spring availability and select date for Thesis Oral Exam with Committee Members. 
  • You will continue finalizing your Thesis creative and research work. It may be helpful to check in with your Committee members or other Faculty for brief studio visits and feedback on written Thesis-in-progress. 
  • Attend Graduate Division Thesis Formatting meeting.
  • Confirm reservation of necessary Media equipment for Thesis show.
  • Send Department Promotions Manager a promotional image for your Thesis, for the purpose of Thesis Exhibition email blasts.

      Spring Quarter

  • Enroll in VIS 299 (12 units) with Committee Chair
  • Review Preparing to Graduate . 
  • Schedule the Thesis formatting meeting with the GEPA. This formatting meeting should be scheduled with at least 90% of your writing complete and an idea of how you will document your Thesis show. 
  • Confirm Thesis Oral Exam date and time with Committee Members.
  • Notify Student Affairs Manager of the Thesis defense meeting date and Thesis Title via [email protected]
  • Format Thesis according to UC San Diego campus guidelines
  • At least 2 weeks prior to Thesis defense, distribute final Thesis Paper to committee.
  • Final Thesis paperwork will be distributed via DocuSign to the committee @ucsd.edu emails the day prior or day of the defense. 

Full Time Enrollment

In order to remain eligible for financial support all graduate students must be enrolled   in 12 units of upper-division (100-199) or graduate level (200 and above) courses each quarter during the regular academic year. Graduate students must also maintain a minimum GPA of 3.0 to maintain good academic standing. 

All graduate students must complete:

  •  A minimum of 12.0 units of upper-division (numbered 100 and above) and graduate level courses (numbered 200 and above) per quarter. Lower-division undergraduate courses (numbered 1-99) may be taken by graduate students for interest or skills building but those units do not apply towards the minimum needed per quarter.
  • Successfully complete 36.0 units per year.  Failure to pass a total of 36.0 units in a year will result in the student being placed on academic probation by the university.  
  • Maintain a minimum grade point average of at least 3.0 (B average) to continue in good standing.  A student is subject to dismissal if the overall grade point average falls below 3.0 at any time.  University policy states that any student with more than 8 units of “U” and/or “F” grades is barred from future registration including the next available quarter.  

It is expected that MFA students will take most courses for letter grades.  Those courses taken for Satisfactory/Unsatisfactory (S/U) grading rather than a letter grade will not have an impact on the GPA however they can still impact academic standing. 

All students are expected to complete the assigned coursework within the 10 weeks allocated for the course. During extenuating circumstances and with the written permission of the instructor, the grade “I” may be assigned to a student's work. An incomplete is intended when the work is of non-failing quality, but is incomplete due to problems beyond the student’s control, such as illness, family emergency, etc. The deadline for filing a request for an Incomplete shall be no later than the first working day after final examination week. An instructor may not grant a request for an Incomplete for other than such good cause. The instructor shall make arrangements with the student for completion of the work required at the earliest possible date, but no later than the last day of the finals week in the following quarter. If not replaced by this date, the “I” grade will lapse into an “F” and will be computed into the GPA.

Grade Point Average

A graduate student must maintain a minimum grade point average of at least 3.0 (B average) to continue in good standing. A student is subject to dismissal if the overall grade point average falls below 3.0 at any time.

US citizens who are not California residents must establish CA residency by August prior to the start of the second year. This allows for the NonResident Supplemental Tuition (NRST) to be dropped for your second and third years in the program. This is required as the Department is only able to pay this additional tuition on behalf of the student during their first year in the program. To establish residency for tuition purposes is an easy process with the Residency Deputy on campus: https://students.ucsd.edu/finances/fees/residence/criteria.html . If you do not establish California residency but are eligible, then you will be required to pay your NRST for each quarter until you establish residency or graduate. 

International Students are generally not able to establish CA Residency due to visa restrictions. The Department will fund 3 years/9 quarters of NRST for these students. Any International Students who need to enroll in coursework or graduate later than that will be required to pay their NRST.

Leave of Absence (LOA) 

Students needing to take a leave from the University with plans to return should notify the MFA Faculty Director, their Faculty Advisor and [email protected] of their intention to do so at least one month in advance of the leave. Graduate Students who have completed a minimum of one quarter and maintain a 3.0GPA are eligible for up to 3 quarters of leave. Any student bearing a child or responsible for the caregiving of a child 5 years or younger is eligible for an additional 3 quarters of leave. During this time, students may pay to maintain their health insurance but will not be permitted to utilize any campus resources, maintain a department Studio and will not be able to hold any employment or receive financial support. Students need to check-in with [email protected] each quarter to confirm their continued LOA plans or to process their return to campus. 

Some students may decide to withdraw from the University or no longer enroll in courses. Anytime you are taking a leave, you should discuss this with your Faculty Advisor. Once you are interested in returning to campus, must reapply for admission and pay a readmission fee to the Cashier’s Office. You also will need to meet with the MFA Faculty Director, your Faculty Advisor and administrative staff to learn what requirements need to be met based on the current catalog requirements for the MFA Program.

Time Limits

Students would usually finish the majority of their required coursework in 2 years, but must be Advanced to Candidacy no later than Week 10 of the Winter Quarter of their 3 rd Year. Ideally students will be Advanced to Candidacy by Fall Quarter of the 3rd Year in order to allow the most time and best preparation for the Thesis presentation, paper and exam. Students must be in residence for at least 2 years or 6 quarters before graduating.

For international students, there is an additional tuition (NRST) charged to the Department each quarter enrolled. The Department of Visual Arts agrees to pay this supplemental tuition for normative time (3 years, 9 quarters). For International students who extend into the 4th Year, you are responsible for the NRST until you graduate.

Trainings/Systems Access

UCSD requires that all employees complete required trainings every 1-2 years in order to maintain access to campus systems. It is necessary that you stay up-to-date on these trainings as an expectation of your employment and funding guarantee. These required training reminders will be sent to you via email from the UC Learning Center.

MFA Current Students

Mfa handbook.

GRAD Exhibitions


This site includes documentation of solo thesis shows from graduating MFA students as well as First Year Reviews. Past exhibitions include the 2022 & 2021 Open Studios and the 2021 & 2020 graduating MFA exhibitions.


Open Studios

UCTV Arts Channel: Connecting the Community with Rich, Cultural Programming

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Universities, and the communities around them, offer a rich tapestry for the creation of cultural arts that bring people together and create thriving civic engagement. 

In an effort to bring more front-row access to the performing arts, UCTV has launched a new Arts Channel that offers free access to all forms of creative expression, from dance , film, and music to theater, spoken word, and visual art.

UCTV Arts will be a robust, enriching home for creative and engaging cultural arts programming generated by faculty, students, staff, and affiliated partners from UC San Diego and UC campuses across the state.

"We will focus initially on UC San Diego's goal of being a destination for accessible, vibrant, and transformational arts and culture,” said Natalie Walsh, Executive Director of UCTV.  “We'd like to partner with many of UC San Diego’s creative departments, including the Division of Extended Studies' Park and Market ,  The Stuart Collection , the School of Arts and Humanities, The Design Lab, ArtPower, Epstein Family Amphitheater, Craft Center, Clarion Writers’ Workshop, Mandeville Art Gallery, Suraj Israni Center for Cinematic Arts, Cultural Centers, and La Jolla Playhouse. 

Additionally, Walsh aims to collaborate with an array of community arts organizations, including the La Jolla Symphony and Chorus, PLNU Writer’s Symposium, La Jolla Music Society, Old Globe, San Diego Opera, and Malashock Dance, as well as K-12 schools and the San Diego Library. 

We will focus initially on UC San Diego's goal of being a destination for accessible, vibrant, and transformational arts and culture. We'd like to partner with many of UC San Diego’s creative departments...

"Our long-term goal is to secure funding to commission and acquire cultural arts programming from across the UC system," she said.

UCTV Arts, which made its debut in Spring 2023, has roots in UCSD-TV, which, in 2000 launched UCTV as a service for all University of California campuses. Today, viewers can watch the channel 24 hours a day from anywhere in the world. Last year, UCTV's videos were viewed over 60 million times; almost half of UCTV's viewers watch from outside of the U.S.

Combined, UCSD-TV and UCTV have created over 700 video series spanning 300 categories. Among the channel's most viewed videos include a performance of famous German composer Carl Orff’s “Carmina Burana” by the UC Davis Symphony Orchestra, the University Chorus and Alumni Chorus, and the Pacific Boychoir.

UCTV Arts will include a mix of new, original arts and cultural programs and those produced over UCSD-TV's 30-year history.

"We are excited to expand our programming, which will offer viewers a consolidated place to engage with arts and culture happening at UC San Diego and beyond," Walsh said.

Walsh said the new Arts Channel is also an opportunity to expand UCTV's arts coverage in order to tap into the diverse and robust artistic expression happening not only on campus but also around the San Diego region and beyond. Another goal of UCTV Arts is to give access to those who may not otherwise have access to arts programs and concerts. 

"We have the chance to create cultural programming that is inherently inclusive and accessible, connecting audiences and artists on a more intimate and authentic level," she said. "We are in a unique position to work with the university and community partners to produce an array of videos that embrace diversity, equity and inclusion and highlight the cultural richness of our binational region and state. UCTV Arts will be seen by millions of people across the globe and will elevate the profile of cultural arts at UC San Diego and across the UC system. By going beyond our campus borders, UCTV will demonstrate the university's commitment to being a resource for all.”

Last year, UCTV's videos were viewed over 60 million times; almost half of UCTV's viewers watch from outside of the U.S.

Walsh said one of the long-term goals of  UCTV Arts is to spotlight artists and musicians who otherwise may not have a platform to share their work and stories with the masses. 

“These artisans help create a rich tapestry of who we are and where we live. They add to this richness of our region. Being able to highlight them is important because it’s more of a complete picture of who we are as a community," she said.


In an effort to include a more diverse mix of artists and performers, UCTV Arts has assembled an advisory group, which includes representatives from UC San Diego, including Ed Abeyta, Senior Associate Dean of Education and Community Outreach at the Division of Extended Studies; Rachel Bradley, UCTV Senior Producer; Andrew Waltz, Park & Market Arts Director; and Colleen Kollar Smith,  Performance and Events Executive Director.

Community members in the advisory group include Leah Goodwin, California Arts Councilmember; Christine Martinez, Balboa Park Cultural Partnership; Ron Miriello, Miriello Grafico Director; and Susanna Peredo Swap, Vanguard Culture Executive Director.

"UCTV Arts exemplifies UC San Diego’s commitment to public education, extending the transformative power of the arts beyond our physical campus and across regional borders,” said UCTV Arts advisory member and Executive Director of UC San Diego’s Campus Performance and Events Office, Colleen Kollar Smith. “This platform will amplify the innovative artistic endeavors flourishing at UC San Diego, throughout San Diego, and eventually across the UC system. By opening its virtual doors to learners of all ages, from every corner of the globe, UCTV will ensure access to the arts for all. I am thrilled to support Natalie’s vision to enrich lives and foster a deeper understanding of and appreciation for the arts with patrons and learners worldwide.”

In its second operational year, the self-funded UCTV Arts aims to create 12 to 18 original programs at UC San Diego and establish a new three-year funding initiative. Additionally, the channel intends to generate another 12 to 18 programs from July 2025 to June 2026.

“Our mission is to expose people to inspirational, educational and enlightening content that they may have not been exposed to by opening up the walls of the university to a wider audience,” Walsh said. 

To explore opportunities to collaborate with UCTV on featured arts programming, please contact Natalie Walsh at nawalsh@ucsd.edu .

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Clinical Research Coordinator - 128309

Job description, #128309 clinical research coordinator.

UCSD Layoff from Career Appointment : Apply by 2/26/2024 for consideration with preference for rehire. All layoff applicants should contact their Employment Advisor.

Special Selection Applicants : Apply by 3/06/2024. Eligible Special Selection clients should contact their Disability Counselor for assistance.

Current UC San Diego Health Urology employees who apply by 2/28/2024 will have priority consideration for this position. Recruiters will refer qualified internal candidates after the first 7 days of the job posting. All qualified external applicants and additional internal applicants who apply after the priority date may have further consideration pending the results of the initial review.


Incumbent will coordinate and oversee start-up procedures, implementation, recruitment, screening, enrollment, and maintenance of subjects. Create informational and recruitment materials and act as a liaison with other UCSD departments and agencies for the purpose of implementation of studies. The Clinical Research Coordinator will plan, develop and implement start-up procedures for multiple phase I-III research studies in assigned disease team as well as lead, direct, and coordinator operational efforts. Assure compliance with state and federal regulatory guidelines. Oversee the quality of the medical and clinical research data. Provide direction and guidance to investigators. Provide education and information to the general public concerning the ongoing clinical trials. Assist PIs with proposals, progress reports and manuscripts. Independently create original documents and policies for assigned disease teams. Work closely with federal and state regulatory officials.


Strong theoretical knowledge and/or Bachelor's Degree in a social science or basic science such as Biology, Microbiology or a related field and/or an equivalent combination of education and work experience.

Demonstrated experience in clinical trials research. Strong knowledge of experimental protocols, data gathering, protocol design and evaluation.

Demonstrated experience in research protocol start-up procedures, including: study feasibility, study activation and IRB processes, and qualification procedures. Strong experience in clinical trials research including budget negotiations and invoicing per clinical trial agreement.

Strong knowledge of investigational protocols (data management, query resolution, protocol design and protocol implementation).

Demonstrated experience performing clinical research duties in a clinical research environment such as CRO, academic research institution, and/or a research hospital.

Experience in providing work direction and assisting supervisor in maintaining an efficient medical research team.

Strong knowledge of investigational protocols especially with pediatric oncology protocols (data management, query resolution, protocol design, protocol writing and protocol implementation).

Demonstrated experience with research protocol in order to screen patients for eligibility, initiate treatment plan, collect specimens, and orient participating physicians.

Strong experience completing clinical trials case report forms via hard copy and online.

Proven ability to find creative and innovative solutions to adjusting needs of the center. Ability to be resourceful and to understand the overall nature of work/responsibilities to establish useful resources and University contacts.

Ability to discern items that can be handled independently and those which require attention of supervisor, including ability to quickly determine subject matter of material and necessary action to be taken in a timely manner.

Working knowledge of medical and scientific terminology.

Proven ability to problem solve and resolve conflict.

Excellent ability to organize/prioritize workload effectively to meet deadlines in an environment with multiple interruptions and changing priorities. Meticulous attention to detail.

Excellent interpersonal, as well as written and verbal communication skills (using grammatically correct written English and accurate typing) to interact with a variety of personalities at all levels of the organization, exercising tact, mature judgment, diplomacy, and flexibility to promote positive working relationships and job effectiveness. Skill at negotiating with various personalities and developing internal and external network of contacts. Excellent phone etiquette skills.

Computer proficiency, including working knowledge of word processing, spreadsheet software (Microsoft Office) and internet browser applications. Experience in conducting searches on the internet.

Demonstrated administrative experience, skill to coordinate complex activities and to use independent judgment to organize and prioritize office functions.


Knowledge of cost accounting as applied to both University and Medical Center functions. Demonstrated knowledge of medical billing and collections guidelines and procedures.

Possess a Clinical Research Coordinator Certificate, or Masters Degree.


Employment is subject to a criminal background check and pre-employment physical

Occasional evenings and weekends may be required.

Pay Transparency Act

Annual Full Pay Range: $72,621 - $116,761 (will be prorated if the appointment percentage is less than 100%)

Hourly Equivalent: $34.78 - $55.92

Factors in determining the appropriate compensation for a role include experience, skills, knowledge, abilities, education, licensure and certifications, and other business and organizational needs. The Hiring Pay Scale referenced in the job posting is the budgeted salary or hourly range that the University reasonably expects to pay for this position. The Annual Full Pay Range may be broader than what the University anticipates to pay for this position, based on internal equity, budget, and collective bargaining agreements (when applicable).

If employed by the University of California, you will be required to comply with our Policy on Vaccination Programs, which may be amended or revised from time to time. Federal, state, or local public health directives may impose additional requirements. If applicable, life-support certifications (BLS, NRP, ACLS, etc.) must include hands-on practice and in-person skills assessment; online-only certification is not acceptable.

UC San Diego Health Sciences is comprised of our School of Medicine, Skaggs School of Pharmacy and Pharmaceutical Sciences, The Herbert Wertheim School of Public Health and Human Longevity Science, and our Student Health and Well-Being Department. We have long been at the forefront of translational - or "bench-to-bedside" - research, transforming patient care through discovery and innovation leading to new drugs and technologies. Translational research is carried out every day in the hundreds of clinical trials of promising new therapies offered through UC San Diego Health, and in the drive of our researchers and clinician-scientists who are committed to having a significant impact on patient care. We invite you to join our team!

Applications/Resumes are accepted for current job openings only. For full consideration on any job, applications must be received prior to the initial closing date. If a job has an extended deadline, applications/resumes will be considered during the extension period; however, a job may be filled before the extended date is reached.

To foster the best possible working and learning environment, UC San Diego strives to cultivate a rich and diverse environment, inclusive and supportive of all students, faculty, staff and visitors. For more information, please visit UC San Diego Principles of Community .

UC San Diego Health is an Equal Opportunity/Affirmative Action Employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability, age, protected veteran status, gender identity or sexual orientation. For the complete University of California nondiscrimination and affirmative action policy see: http://www-hr.ucsd.edu/saa/nondiscr.html

UC San Diego is a smoke and tobacco free environment. Please visit smokefree.ucsd.edu for more information.

UC San Diego Health maintains a marijuana and drug free environment. Employees may be subject to drug screening.

Application Instructions

Please click on the link below to apply for this position. A new window will open and direct you to apply at our corporate careers page. We look forward to hearing from you!

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Posted : 2/21/2024

Job Reference # : 128309


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Technical Writing

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technical writing in 11 reviews

It's an amazing begin for peoples that need to have a first contact with the technical writing.

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The entire "first week" is background information about the university and instructors, along with a short animation related to technical writing with no commentary that seems like it was made to be inserted into a video but was uploaded alone instead.

You can skip straight to Week 2 "Characteristics of Technical Writing" and not be any worse off for it.

", could've easily been combined with the course information in a text document or with "Characteristics of Technical Writing" for a more robust understanding of what technical writers do and how it relates to their writing.)

For how much the course tries to impress that technical writing should be clear, concise, and well-presented, it fails in nearly all of those aspects.It's not unwatchable and there's solid information to be found, but those are only part of what makes a quality educational video.

Great course and got great insights about Technical Writing.

Adding some Technical Writing Tools would have been even nicer.

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This course is a great gateway to the world of technical writing.

The course was very well structured... a perfect balance between theoretical and practical aspects of Technical Writing.

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Capturing Creativity with Computation for Music AI

Pattern of musical notes on a circuit board

We know it when we see it, but what is creativity and can it be quantified? In a paper that could help guide future artificial intelligence (AI) development, a team from UC San Diego’s Jacob School of Engineering, Department of Music and Qualcomm Institute (QI) has discovered answers in the context of musical collaboration.

“It’s a hard problem, because not a lot of people agree on what is creative,” said study co-author Vignesh Gokul, a computer science and engineering Ph.D. candidate at UC San Diego. “Our main hypothesis was that the musical score or output that is most creative is the one that conveys the most information. The contribution of this paper is a method to calculate this total information flow between a human and an agent (or another human) playing music.”

The paper’s senior author Shlomo Dubnov, who is professor in both UC San Diego’s Music Department and Computer Science and Engineering Department as well as a QI affiliate, added, “This is a new concept that highlights the importance of communication and collaboration that occurs between musicians or between musicians and musical artificial intelligence agents as a fundamental factor in achieving music creativity.”

The paper, “Evaluating Co-Creativity Using Total Information Flow,” is authored by Gokul, Dubnov and computer science and engineering master’s student Chris Francis, who spearheaded experimental infrastructure and operation. The paper is being presented at this week’s Mathemusical Encounters in Singapore : a Diderot Legacy conference.

The project was funded by Project REACH : Raising Co-creativity in Cyber-Human Musicianship , a European Research Council Advanced grant that promotes the study of “shared musicality” at the intersection of the physical, human and digital spheres; it is designed to produce models and tools to better understand and encourage human creativity in a context where it is increasingly intertwined with computation.

Generating a Creativity Score

In this research, the UC San Diego team decided to evaluate musical co-creativity by using an pre-trained large language neural network model called Multitrack Music Transformer to estimate the amount of interaction between different musical voices in tracks containing a piano melody and its piano accompaniment.

The team derived an equation to effectively compute the information flow between the two signals in this musical interaction system, as a quantitative score. According to the hypothesis, the higher the score, the greater the creativity. If one of the musical voices in a pair ignored or repeated the other, the score would go down because little information would be exchanged. If, however, the voices went back and forth integrating each other’s musical information with their own, the score would rise.

Next, the team looked for a way to check that this score was a meaningful measure of creativity.

“The hardest part was definitely validating this framework,” Gokul said. “We had come up with the hypothesis; we had come up with a method to compute the score based on the hypothesis. But validating is hard because humans have different subjective preferences.”

The team decided to lean into human subjectivity and compare the computed score with five expert musicians’ evaluations of 84 musical duets, including some that were randomly generated. The results demonstrated that the computational score matched human perception.

Gokul cautioned there is still work to be done. He notes there’s a tendency for pre-trained models to prefer their own generations, and the team found that to be the case in this work with the Multitrack Music Transformer model. And, Gokul notes, this is only one step toward a musical system in which humans and AI can interact creatively.

However, the researchers are already planning future applications of the current work, including a collaboration with neuroscience researchers who investigate the cognitive load of listening to music or performing musical tasks. 

As Gokul transitions from his Ph.D. studies to a job in the tech sector, he is grateful for all the human creative collaboration he experienced at UC San Diego, including with Dubnov. “He has been a fantastic advisor,” Gokul said. “He’s very knowledgeable in information theory, music, generative AI, and we have published about seven works together. It’s been great to receive his guidance on these projects.”

Read more about UC San Diego’s Qualcomm Institute , Department of Music or Department of Computer Science and Engineering .

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MAOU "Lyceum" Reutov, Lyceum of the Balashikha City District

MAOU "Lyceum" Reutov, Lyceum of the Balashikha City District 0

Description of MAOU "Lyceum" Reutov, Lyceum of the Balashikha City District

  • Location: Reutov, Russia;
  • Students age - from 7 years old to 18 years old;
  • Forms of study: full-time, family;
  • School uniform;
  • Subdivisions of education: primary, basic and secondary.

The Lyceum in the city of Reutov, Moscow Region, was opened in 1996. This educational institution has a lot of good reviews about the educational staff and the school building itself, spacious and bright classrooms and delicious food.

Programs and prices, tuition fees in MAOU "Lyceum" Reutov, Lyceum of the Balashikha City District

Quick overview: The main program of primary general education from general education subjects.

Quick overview: The main program of general education includes:

  • General education subjects;
  • In-depth study of the subjects chosen for passing the OGE.

Quick overview: The main program of secondary general education, which includes general education subjects and in-depth study of the subjects chosen for passing the exam.

When transferring from grade 9 to grade 10, the student chooses the profile of future education:

  • Engineering;
  • Humanitarian.

In engineering, the exact sciences are studied in depth, and in the humanities - languages, literature, history and social science .

Accommodation, meals, prices

The Lyceum provides free meals for following groups of students:

  • Students from large families (breakfast and lunch);
  • Students of preferential categories, the list of which is determined by local self-government bodies of municipalities of the Moscow region (in accordance with the decree of the Head of the city of Reutov dated August 24, 2015 No. 417-PG);
  • Students in grades 1 - 4.

To receive reduced price meals, parents / legal representatives of a student must fill out an application in writing addressed to the school principal and supplement it with certificates confirming participation in the privileged category.

There is also a pantry area in the dining room, where each student can buy pastries or dishes of their choice.

Activities MAOU "Lyceum" Reutov, Lyceum of the Balashikha City District

Additional education in the lyceum is presented in circles of interest and sections according to the interests of students:

  • Programming;
  • In-depth study of information technology;
  • Advanced study of physics;
  • Additional study of English and Russian languages;
  • Military sports club for students in grades 5-6;
  • Ecology study;
  • Local history of the Moscow region;
  • Development of creative talents: drawing, theater studio;
  • Chess Club;
  • Engineering graphics.

Students can also participate in:

  • Lyceum Intellectual Club "Erudite" - a voluntary creative association of students striving to improve their knowledge in a certain field of science and art, to develop their intellect;
  • Volunteer Society "Kind Children", which organizes cultural, aesthetic and sports and recreational activities, cooperation with representatives and volunteers of social projects;
  • School Television - work on the creation of television programs that allow students to try their hand at a wide range of humanities and technical sciences;
  • Electronic newspaper "Living a Dream" - an informative source of lyceum affairs, expressing the opinion of students. The newspaper tells about the events in the life of the students through the eyes of the students. The editorial office of the newspaper consists of high school students interested in literary creativity and journalistic work;
  • All-Russian Olympiad for schoolchildren in general subjects;
  • Research and innovation conferences "Step into the future".
  • Additional education after school hours;
  • Participation of students in Olympiads and conferences.

Facilities and equipment at MAOU "Lyceum" Reutov, Lyceum of the Balashikha City District

All classrooms are equipped with the necessary items for teaching children. To use educational, methodological or fiction literature, the student only needs to visit the library. The territory of the Lyceum is fenced off, planted with trees and shrubs, and has outdoor artificial lighting. The school infrastructure is well equipped:

  • Sports stadium;
  • Workout zone (exercise equipment for strength gymnastics);
  • Playgrounds for football, volleyball and basketball.

Video surveillance is installed along the perimeter of the Lyceum building.

Admission dates and extra charges

The lyceum works in 1 shift in the mode of five school days (from Monday to Friday). The beginning of lessons is 9:00-10:15, depending on the class, the duration of one lesson is 40 minutes.

The school year starts on September 1. End of the school year depends on the grade:

  • Grades 1 - May 21;
  • Grades 2–8, 10 - May 28;
  • 9, 11 grades - at the end of the exam.

List of vacations:

  • October 5-11;
  • November 16-22;
  • January 1-10;
  • February 22-28;
  • April 5-11.

Also, students of the Lyceum have a rest on public holidays.

Entry requirements, how to apply, what is required to enrol

To enter the lyceum, the parents / legal representatives of the future lyceum student need:

  • Fill out an application on the portal of municipal services of the Moscow region;
  • Applicant's identity document;;
  • Child's birth certificate / document confirming the applicant's relationship;
  • Certificate of registration of the child at the place of residence or at the place of stay in the assigned territory.
  • Wait for feedback from the educational institution.

At the time of admission to the first grades, the child must be at least 6 years and 6 months old and no more than 8 years old.

Admission to 10 profile classes of the lyceum is carried out on a competitive basis according to the rating based on the results of the lyceum complex subject Olympiad and taking into account the average score of the certificate of basic general education.

Institution on the map

Residence permits, citizenship and other services.

  • Guardianship services during the studies
  • Student supervision

Review about MAOU "Lyceum" Reutov, Lyceum of the Balashikha City District

Recommendations on when to apply, similar educational institutions.

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