Dissertations / Theses on the topic 'Contemporary practise'
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FOWLER, MICHAEL D. "TOSHI ICHIYANAGI'S PIANO MEDIA: FINDING PARALLELISMS TO PATTERNS IN JAPANESE CULTURE." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1113278564.
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Middleton, Steven Anthony, and smi81431@bigpond net au. "A limited study of mechanical intelligence as media." RMIT University. Creative Media, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080717.161751.
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The project investigates mathematics, informatics, statistical analysis and their histories, the history of human engagement with machines, and illustrates some uses of artificial intelligence and robotic technologies as media. It is concerned with, amongst other issues, the sentient and not sentient binaries offered in discourses on machine intelligence. The term intelligence is used to distinguish between human and not human. However, a non-human, the intelligent machine, has become incorporated into the processes by which our culture defines intelligence. Those processes were explored in phases of the project that focused upon various kinds of interactions between people and machines, particularly the ways in which those interactions are mediated by knowledge. The discourses that underpin the field of mechanical intelligence spring from the same sources as the rhetoric that delineates human beings from all other things. We make intelligent machines because we have something to prove regarding our own intelligence. The devices expose attributes considered in our culture to be intelligent. The size and technical sophistication of modern robots result from the expenditure of considerable funds across several disciplines. Such machines signify wealth, power and excess, despite any other significance their makers intend.
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Ely, Bonita. "Change and continuity the influences of Taoist philosophy and cultural practices on contemporary art practice /." View thesis (Appendix 3 available at UWS Library for private study and research purposes only), 2009. http://handle.uws.edu.au:8081/1959.7/40805.
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Thesis (Ph.D.)--University of Western Sydney, 2009.A thesis presented to the University of Western Sydney, College of Arts, School of Communications Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies. Thesis front, chapters, appendices 1, 2 also available online at: http://handle.uws.edu.au:8081/1959.7/40805.
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Moulon, Dominique. "L'art au-delà du numérique : Pratiques et cultures numériques plurielles d’un art contemporain singulier." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H303.
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Le numérique s'est immiscé dans toutes les sphères, privées, publiques et professionnelles, de nos sociétés et les a façonnées. Depuis toujours, les artistes se saisissent des techniques ou technologies de leur temps afin d'en témoigner. A chaque innovation détournée correspondent ainsi des œuvres mais il faut du temps au monde de l'art pour intégrer de nouvelles pratiques comme de nouveaux médias. Impatients, les plus fervents défenseurs de l'art numérique se sont structurés en communautés à l'international en organisant des événements dédiés. Leurs pratiques arrivent aujourd'hui à maturité et le public est culturellement prêt à accueillir leurs créations comme il le fait déjà au sein de festivals. On remarque, dans un même temps, les premiers signes d'une acceptation du digital dans l'art au travers des institutions comme sur le marché dont on sait la position dominante. L'objet de cette recherche est d'étudier les œuvres des pratiques actuelles sans se focaliser sur leur part de numérique. De les analyser dans le contexte de leur monstration en les assemblant pour qu'ensemble elles dialoguent. Afin de démonter que le numérique n'est autre qu'un médium de l'art contemporain dont il convient toutefois de considérer les spécificitésDigital technologies have insinuated themselves into ail spheres, public, private and professional of our societies and have also shaped them. Historically, artists have always made use of the techniques and technologies of their time to show them off. For each innovation that has been appropriated, there are corresponding works, but it takes time for the art world to incorporate new practices such as new media. The most fervent defenders of digital art are impatient and so have structured communities by organizing dedicated international events. Their practices are now reaching maturity and the public is culturally ready to receive their creations, as they already do in festivals. We note, at the same lime, the first signs of acceptance of digital technology in art through institutions such as the art market, whose dominant position is known. The purpose of my research is to study the works of current practices without focusing on the part of them that is digital ; to analyse them in the context of their exhibition by assembling them together so they may create a dialogue. My goal is to demonstrate that digital technologies are simply a medium of contemporary art, whose particularities should nevertheless be considered
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Seffrin, Georgia Karolina. "Emerging trends in contemporary festival practice." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16440/.
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The Festival is a form that transcends cultures, histories and regimes. It is a construct that has been utilised in a variety of ways, for a variety of purposes, but its raison d'etre is always community, sometimes as celebrated from a popularist level, at other points manipulated by the wielders of power. In its modern context, the festival has similarly been deployed as either a means of celebrating a sense of local community, or embraced by governments as a symbol of sophisticated cosmopolitanism. This research aims to contextualise a particular kind of festival practice within both an historical and contemporary context. This is structured through three key areas: at the heart of the thesis is a study of a particular kind of contemporary festival model, the boutique festival, as produced by the Programming Unit of the Queensland Performing Arts Centre. This festival construct is significant in its positioning of the audience as both producer and consumer in a playful and intelligent manner. This kind of model is different from the more conventional high arts or community arts festival models. Secondly, the research explores how current renderings of the festival can be contextualised within historical functions, so as to highlight points of connection and departure. Thirdly, the study positions the boutique festival as but one example of a range of current local festival practices that highlight the manner in which the festival construct engages with contemporary life. This portion of the study places these local renderings within Creative Industries discourse, focussing on the notion of the Creative City. The thread that ties the areas of focus together is the role of the audience in the festival. The trope of community remains central to contemporary festival practice, but it is a term that is becoming increasingly problematic and opaque, especially within an urban context. Through a variety of constructs, contemporary festivals encourage a cultural discussion about what community means in a current context, and in so doing, invite explorations of space, identity and authenticity as well.
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Moskalenko, Taras. "Solution Selling in Contemporary Business Practice." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-165966.
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This master thesis focuses on the issue of practical implementation of Solution Selling philosophy in general and of its principles in particular. It also covers topics of the sales function in a company, sales workforce and related problems with hiring and differentiating between sales positions, theoretical background of Solution Selling and discussion about its topicality and ability to address needs of modern economic environment. Empirical part is based on three case studies of such companies as VMware, Cisco and DuPont and example of business model of IBM Corporation, which successfully uses Solution Selling as a core for its operational activities. Results of findings are provided in the end of practical part and in general conclusions.
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Smurthwaite, Kathryn C. "Using Contemporary Art to Guide Curriculum Design:A Contemporary Jewelry Workshop." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3903.
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There is currently need for reform in art programs of all kinds, in regards to use of and focus on contemporary art and current practices. Teaching about art of our time and place enables students to understand and make connections to their world, and facilitates art making that is creative and relevant. This thesis describes theory and rationale for basing curriculum on contemporary art practices and presents a jewelry workshop, for all skill levels, that teaches contemporary art themes and practices. There are two units. The first teaches metal texturing, shaping and simple soldering skills while, focusing on art that deals with spectral and compensatory remembering themes. The second unit teaches bezel setting while focusing on alternative to the establishment art themes. The lessons in the workshop were also created using contemporary art teaching techniques and new principles and elements of design.
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Roberts, Teresa L. "Collaboration in Contemporary Artmaking: Practice and Pedagogy." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1248880538.
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Tait, Stuart. "Becoming multiple : Collaboration in Contemporary Art Practice." Thesis, Birmingham City University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527468.
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Mwangi, Gichora. "Orature in contemporary theatre practice in Kenya." Thesis, University of Leeds, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441711.
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Gilson-Ellis, Jools. "The feminine/oral in contemporary art practice." Thesis, University of Surrey, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326477.
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Agostino, Cristiano. "Contemporary digital museum in theory and practice." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9483.
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This dissertation investigates the interplay between a selected set of museum practices, such as online strategies, digitisation of artwork reproductions, and crowdsourcing, through a theoretically grounded perspective. Existing discourse and debate on the museum's movement from an exclusively physical, to a digital or hybrid presence display an excessive interest in advocacy, usually focusing on small examples of successful practices which are then argued as somehow empowering or resolutive, usually from a 'social justice' point of view. Conversely, in those same discourses little attention is paid to the macro-context within which these cases take place: current debates lack an articulation of how museum practices reflect ongoing trends and paradigms on a culture-wide level, and also eschew non-advocative, neutral discussion of the politics, discourses and power relations that such practice entail. I suggest that the contemporary constructivist, digital museum can be better contextualised if we frame emergent digital museum praxis within a framework that resorts to well-established, and well-described theoretical paradigms that can be observed in other cultural and social contexts as well. The advantage of such an approach is that museum practice, and the museum as an institution, can then be seen in continuity with current macro-trends, rather than as isolates whose usefulness and sustainability begins and ends within the museum's precinct. This dissertation begins this proposed shift in point of view by addressing emergent museum practices such as the drafting of digital strategies; the creation of digital reproductions of artworks for online display; and crowdsourcing in the context of theoretical frameworks such as the utopian imagination; ontology of digital-beings; and contemporary labour practices. While not comprehensive, and exploratory in nature, this dissertation contributes to the discipline by providing a new, more in-depth point of view on 'hot' practices, encouraging a contextualisation of the museum that goes beyond the museum itself, into a theoretical and interdisciplinary field that takes advantage of ideas developed within digital humanities, labour critique, informatics and cultural studies.
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Kilroy, D. A. "Discursive practices in contemporary emergency medicine." Thesis, Manchester Metropolitan University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543249.
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Blackwelder, Sara K. "Syncretism in contemporary pagan purification practices." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1370.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Sciences
Anthropology
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Chan, King Lun Kisslan. "IGolf : contemporary sculptures exhibition 2009 /." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3508.pdf.
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Taylor, Laurel Kim. "Contemporary physician practice patterns, insights from institutional theory." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60352.pdf.
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Colin, Noyale. "Becoming together : collaborative labour in contemporary performance practice." Thesis, Middlesex University, 2015. http://eprints.mdx.ac.uk/21169/.
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Performance, in its multi-participant aspects, tends to emphasise the relationship between the individual and the collective. Through an examination of practices of co-working in contemporary performing arts, and with a particular focus on choreographic practices, the thesis develops a theory of co-labouring grounded in the idea of an economy of belonging. Borrowing from Brian Massumi’s concept of ‘becoming-together’ (Massumi, 2002, 2011), this thesis assumes that the development of a sense of belonging is bound to temporal processes of becoming, and that such transient ways of being can be identified as central to an understanding of current collective formations. The thesis argues that the notion of becoming together in performance-making is likely to promote an ethics of belonging which foregrounds the practitioner’s affective commitment to the other, to relational modes of working and encompasses multiple and open-ended action modes. Co-labouring in performance is revealed as a site of human interaction which can yield new insights into the construction of contemporary digital collective identities. Building on post and para-human ideas of the multiplicity of self (Rotman, 2008), co-working is presented as a way to address the relationship between individual and collective becoming in advanced technological society. A central aim of the thesis is to investigate how far relational modes of working can enhance performance-making and the practitioner’s experience and sense of the self. Engaging with post-autonomist ideas of immaterial labour (Lazzarato, 1996; Negri, 2008), the thesis further assesses the extent to and conditions under which contemporary practices demonstrate patterns of resistance to dominant modes of working. The complexities of modes of co-working are examined through the use of a reflective research metadiscourse, which incorporates distinct registers of practice, commentary and analysis. These include a historical register, the use of case studies, and a practice-led stream of inquiry bound-in to and tied back to the theoretical. This approach allows for a multidimensional but also a critical view of modes of co-labouring; it reveals that an informed coworking is bound to the possibility of individual transformation for the co-workers in performance. In other words, the thesis argues that performance mastery (Melrose, 2003) can be seen as partly constituted by the participants’ negotiation of the relationship between the individual and collective.
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Schutz, Susan. "Beyond reflection : a study of contemporary nursing practice." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/384347/.
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Using Casebook Ethnography, nine registered Adult Nurses were observed and interviewed to explore the ways in which they undertook their daily work and the place of reflection in that. The participants were employed in one of two units; a surgical breast care and an acute palliative care unit, both of which were in a large National Health Service trust hospital in central England. Data collection was illuminated by the researcher’s reflective journal. The data collected, rather than simply describing reflective practice, led to wider and more broadly focussed findings which, when analysed, generated one central theme - Communication, Interaction and Discourse and three linked associate themes - Being and Caring, Practical Action, and Knowing. These themes were considered in the light of the key literature around nursing practice and reflection. The findings point to a new understanding of contemporary nursing practice, which illustrates ‘what our kind does’, amongst the groups of participants in order to deliver patient-focussed care. This practice was directed towards working with colleagues who shared the same values and understandings, and who used these shared beliefs to adapt their practice to achieve individualised and exquisite care. As they communicated and interacted with one another, the participants went about their work with attention to empathy and caring, articulated as a common humanity with their patients. They prioritised action where patient need was clear, and used a form of knowledge that was negotiated and validated within a community of practice. As they maintained a dialogue in their teams, the participants developed a sense of their professional identity and of who qualified as ‘our kind’. The implications of this study are that a fuller understanding of how nurses work in contemporary practice will inform the preparation and continuing professional development of nurses and the ways in which effective clinical leadership may be implemented.
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Ruch, Gillian Margaret. "Reflective practice in contemporary child care social work." Thesis, University of Southampton, 2004. https://eprints.soton.ac.uk/383884/.
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In recent years there has been a steady increase in risk-averse, bureaucratic responses to the uncertainty, ambiguity and risk inherent in contemporary child care social work. This thesis argues that for these conditions to be effectively addressed professional responses are required that challenge the domination of ineffective bureaucratic approaches, which have as their primary objective the elimination of uncertainty and risk. The emergence of relationship-based practice is an approach to practice which ofkrs this possibility. However, the development of relationship-based practice is dependent on practitioners and managers re-conceptualising their understanding of human behaviours - their own as well as those of the children and families they work with - and expanding the knowledges informing their practice. In essence, the development of relationship-based approaches to practice is contingent on social workers becoming accomplished reflective practitioners. Within the literature reflective practice is recognised as complex and there is a paucity of empirical evidence relating to social work practitioners' understandings and experiences of it. This research endeavours to contribute towards an enhanced understanding of the nature of reflective practice and the conditions which facilitate its development. The research findings, generated from ethnographic case studies of two family support teams, suggest that the potential for reflective practice is greater in work contexts which afford containing, reflective spaces in which practitioners have the opportunity to think, feel and talk about their work. Team structures and practices and team managers are identified as pivotal in determining the existence and ef&ctiveness of these reflective, containing spaces. The thesis concludes by outlining a model of containing, reflective spaces and with a call for such spaces to be encouraged as an integral and essential feature of contemporary child care social work practice.
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Mellor, Julie Diane. "Theorising contemporary women's writing : a practice-based study." Thesis, Sheffield Hallam University, 2003. http://shura.shu.ac.uk/20759/.
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The novel, 'Cork Dolls', focuses on the psychological struggle between two women from different cultural backgrounds. Rachel arrives in Sicily as an au pair for the wealthy Bruni family. Here she meets Susan, the Bruni's Filipino housekeeper. Susan has had to leave her daughter, Reetha, in the Philippines, in order to earn money abroad. Rachel, on the other hand, has recently had an abortion. Both of them have come to Italy to make a new life, yet both are forced to play a mothering role to Franco and Santino, the Bruni's children. The resulting power conflict between Rachel and Susan is played out against the backdrop of the Bruni's failing marriage. Rachel is increasingly drawn to Santino, the youngest son. However, her attempted abduction of him forces her to see that it is impossible to replace the child she has aborted. Even Rocco, the young man who attempts to start a relationship with her, is rebuffed as she gains a new understanding of herself. When Signor Bruni leaves the house early one morning, in search of his wife and her lover, an earthquake hits the area. The resulting confusion provides Susan with an ideal opportunity to steal the Signora's jewellery, and thus finance her return to her daughter. Meanwhile, Rachel is left alone with the children. Although her previous attempt at taking Santino has taught her that the children can never be hers, the novel ends with her having to make a final decision as to whether to take them or not.'Cork Dolls' focuses on women's experience. It draws attention to the claustrophobic nature of the domestic setting, and how this can magnify petty aggressions. It also examines ideas about women as mothers in patriarchal society, and looks at how, by focusing on female experience, accepted ideas about women's roles might be challenged.
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Jõks, Eerik. "Contemporary understanding of Gregorian chant : conceptualisation and practice." Thesis, University of York, 2009. http://etheses.whiterose.ac.uk/949/.
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This dissertation seeks to address the question of how contemporary performers and experts understand the medieval repertoire known to us as Gregorian chant. This medieval repertoire (also known as Franco-Roman) is understood here to be abstract musical and non-musical information in medieval manuscripts. It differs from classical western music repertoires by a lack of adequate original performance instructions. It becomes audible through performerâs realisation of his or her personal conceptualisation. This study observes both conceptualisation and practice of the repertoire through the answers of 127 respondents to an online sociological questionnaire and 35 solo recordings of the Gradual Haec dies. The study also involves a heuristic experiment to find connections between conceptualisation and practice. This research is multidisciplinary, combining sociology and musical acoustics. The sociological approach includes quantitative statistical and qualitative methods. Ideas of musical acoustics are applied to measure digitally the temporal structure of solo recordings of Gregorian chant. The analysis of the results of the questionnaire showed that there are certain patterns in evaluating what Gregorian chant is and what is important for a good performance of that repertoire. There was more similarity in understanding what the repertoire is than what the interpretational preferences are. Measuring the solo recordings showed that although there is a large variety in temporal understandings of the performed music, most performers tend to perceive performed music in one durational category. For those who have two basic durational categories it seems to be a result of agogical preferences rather than perception of two durational categories. The comparison of conceptualisation and practice showed that the strongest link between these two is in agogical variety. It was not possible to find similarly significant connections between conceptualisation and other features of practice â tempo values and the number of basic note values. This research project has demonstrated that a multidisciplinary approach to Gregorian chant can reveal new aspects in the study of the repertoire in terms of approach and understanding.
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Hammersley, John. "Dialogue as practice and understanding in contemporary art." Thesis, Cardiff Metropolitan University, 2015. http://hdl.handle.net/10369/8076.
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This study investigates how social constructionist dialogue as art demonstrates a layered mode of practical inquiry, which weaves together interactive and explorative, re-presentational and reflective modes of dialogue in the performance of knowledge. Recent art debates present dialogue as a relational, collaborative and situated mode of meaning-making, and an alternative to traditional constraining frameworks of art. However, artists have been criticised for idealised interpretations of dialogue, which present it as something essentially good and democratic, for insufficiently scrutinising dialogical relationships, and for not providing adequate process accounts for secondary audiences. This study’s multi-layered performance of knowledge draws on thematic insights developed through fourteen interviews and five field conversation artworks from 2008 onwards. Research material from conversational encounters was combined and presented as three constructed written dialogues, which reflect the tensions and questions that emerge out of enacting such a layered mode of dialogue as art. These tensions are re-presented, and discussed in three central thematic chapters, which frame these themes as issues of context, competing characteristics of meaningmaking and relating. The constructed written dialogues provide a platform for further discussion and reflective analysis, which in turn are proposed as an invitation to continued dialogue and socially grounded interaction. The central implication of this study’s contribution to knowledge is that such an approach to practice-led inquiry articulates how dialogue may contribute to the increasing shift in critical art practices towards to more imbricated, uncertain, and performative approaches to knowledge, and provide an alternative to essentialised and foundationalist interpretations of dialogue.
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Williams, Thomas. "Strategy in contemporary jazz improvisation : theory and practice." Thesis, University of Surrey, 2017. http://epubs.surrey.ac.uk/842640/.
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The ability to improvise is one of the most demanding for a jazz musician, and “one of the most complex forms of creative behaviour” (Beaty, 2015). Jazz musician accounts attest to this, describing how improvisation is fraught by “limitless challenges under tremendous pressure” (Berliner 1994:239). In mastering such a skill, a musician must be able to navigate musical space efficiently, carving out novel pathways through harmonic, melodic, timbral, and structural units of organisation, whilst simultaneously responding to interaction within the ensemble, gestural cues, and constructing a dynamic arc to the improvisation. While the importance of improvisation to a contemporary jazz musician cannot be understated, its inception and development as a cognitive skill is not completely understood. How does a musician learn to improvise? How does a musician form a vocabulary or style of improvising? To what extent is an improviser relying on pre-learned patterns, vocabulary, and schema? Why is it that the majority of expert level improvisers are unable to explain the development of their improvisations? What then are musicians really thinking about when they improvise? The research conducted draws focus on these issues, providing a new model of the generative mechanisms involved in improvising. Through an in-depth theoretical modelling and analysis of improvisational strategies, and a heuristically led practical study, this thesis addresses how concept based improvisational strategies might be adopted and assimilated. The focus of this study lies in the post-bebop contemporary jazz landscape and aims to demonstrate how strategy based generative mechanisms are developed and used in improvisatory practice. The theoretical underpinning of this thesis amalgamates recent research in improvisation cognition (including research by Martin Norgaard, Philip Johnson-Laird and Aaron Berkowitz), existing musical treatise,psychological studies and seminal jazz scholarship accounts of improvisatory practice. The second half of this thesis is a practice led inquiry, framed around contemporary jazz fusion guitarist Wayne Krantz and the assimilation of his use of strategy based generative mechanisms.
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Cheung, M. P. Y. "Making readers : Theory and practice in modern writing." Thesis, University of Kent, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377147.
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Josephson, Codi Lea. "Mama said sew: stitched samplers, contemporary art and domestic craft." Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/827.
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My interest in the history of craft as it relates to women and craft in the context of contemporary art led to a more specific personal curiosity about colonial stitched samplers. The incredible skill and patience young colonial stitchers exhibited, layered with the revelatory nature of stitched samplers, sparked a desire to understand them more thoroughly. This thesis is a hybrid product that includes both writing and research about my interest in colonial stitched samplers, craft and contemporary art, as well as ongoing work on three stitched samplers inspired by both colonial schoolgirl samplers and contemporary artists whose work builds upon the tradition of the stitched sampler.
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Reddleman, Claire. "Cartographic abstraction : mapping practices in contemporary art." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18965/.
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This thesis proposes a theory of cartographic abstraction as a framework for investigating cartographic viewing, and does so through engaging with a series of contemporary artworks concerned with cartographic ‘ways of seeing’ (Berger 1972). Cartographic abstraction is a material modality of thought and experience that is produced through cartographic techniques of depiction. It is the more-than-visual register that posits and produces the ‘cartographic world’, or what John Pickles has called the ‘geo-coded world’ (2006). By this I mean the naturalized apprehension of the earth as a homogeneous space that is naturally, even necessarily, understood as regular, consistent and objective. I argue for identifying cartographic techniques of depiction as themselves abstract, and cartographic abstraction as such as the modality of thought and experience that these techniques produce. Abstraction within capitalism comes to be socially real and material, taking place outside thought. I propose a series of viewpoints, that are posited by the relations of viewing enacted by the selected artworks themselves. I analyse these viewpoints in relation to modes of cartographic viewing offered by theorists. Through close readings of cartographic artworks, I expand the current possibilities for understanding cartographic abstraction and its effects, through proposing a range of viewpoints that are both deployed in, and themselves problematize, cartographic viewing. I connect cartographic abstraction to debates about abstraction in Marxist and materialist approaches to philosophy, arguing for interpreting cartographic viewing as an abstract practice through which subjects are positioned and structured in relation to the ‘viewed’. This study discerns ‘real abstraction’ functioning in a particular area of ‘the operations of capitalism’; that is, modes of visual, and epistemological, abstraction that we can identify by exploring artworks concerned with cartographic depiction and conceptualisation. This approach to abstraction explores how cartographic knowledge can be theorized through recognising cartographic abstraction as a material modality of thought and experience.
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Trogal, Kim. "Caring for space : ethical agencies in contemporary spatial practice." Thesis, University of Sheffield, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617015.
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Tatham, Joanne Elizabeth. "Heroin kills : context and meaning in contemporary art practice." Thesis, University of Leeds, 2004. http://etheses.whiterose.ac.uk/3154/.
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Heroin kills: context and meaning in contemporary art practice is a thesis comprising of two parts; the HK publication and a separate written submission. Since 2000 I have worked simultaneously as a Fine Art research student within the University of Leeds and as a professional artist within the context of contemporary art. This thesis aims to negotiate these two parallel yet distinct sites, within which art practice occurs. The two contexts make different demands of art practice. They do not operate within a common discourse and they do not necessarily use the same systems to validate art activity. As such, art means differently within each of these two contexts. This thesis uses these differences of context to enable a consideration of how art, in the form of objects, images and words, means. Concurrently, the thesis then uses this potential for different meanings to articulate the distinctions that exist between these two contexts as sites for art. The HK publication exists both as a component element of the thesis and separately outside of the context of the PhD as a handbook for the HK project. The HK project has been enabled by the context of contemporary art and this remains a principal signifying site for the publication. The PhD thesis re-presentsa nd reframes the HK publication. The publication functions through how and where it is positioned, drawing attention to the mechanics of its presentation as it does so. The written element of the thesis considers the relationship that exists between an artwork and the written word. The writing attempts to present an alternative method for taking account of the contexts for the production, exhibition and dissemination of art by constructing a narrative around HK that provides an account parallel to the HK publication. The two elements of the thesis work together to consider the context of the Fine Art practice PhD as a site for meaning for contemporary art. I hope HK, the project that resides behind, above and beyond this thesis, survives this process.
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Kanno, Mieko. "Timbre as discourse : contemporary performance practice on the violin." Thesis, University of York, 2001. http://etheses.whiterose.ac.uk/2512/.
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Alexander, Jane. "The contemporary uncanny : an exploration through practice and reflection." Thesis, Northumbria University, 2018. http://nrl.northumbria.ac.uk/36241/.
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My Creative Writing thesis comprises a collection of uncanny short stories that explores social, psychological and physical impacts of advances in science and technology, and a critical-reflective exegesis. Using a research methodology that critically examines insights emerging from creative and reflective practice, the thesis as a whole addresses the question of how the short story can be used as a particularly appropriate mode to illuminate contemporary experiences of science and technology through the creation of uncanny affect. The exegesis offers a definition of contemporary uncanny fiction; the stories test a range of thematic, stylistic and formal strategies for achieving uncanny affect. The resulting creative work suggests a contemporary technological uncanny is one that develops and extends Freud’s conceptualisation of das Unheimliche. Chapter 1 establishes the theoretical background to my practice research, providing a historical overview of the uncanny as a phenomenon and literary mode. Chapter 2 draws on Gothic and posthuman studies and psychoanalysis, and short stories by China Miéville, Nicholas Royle and Ali Smith, to explore the implications of insights emerging from my short stories: notions of an ‘uncanny of the virtual gaze’ and the body as site of impact for science and technology characterise a technological uncanny particular to our age, and comprise an original contribution to dialogues and debates theorizing a contemporary uncanny. Chapter 3 applies these notions to the practice of creative writing, to investigate the impact of its location in the academy. Finally, Chapter 4 extends existing narratological theory to suggest how second person is a particularly uncanny narrative mode, and examines issues of form, voice, structure and sequence to contend that short fiction is an especially effective form for the creation of uncanny affect – at the level of the individual story, and the collection as a whole.
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Fras, Jona Jan. "Linguistic practice on contemporary Jordanian radio : publics and participation." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31208.
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Contemporary studies of media Arabic often pass over issues of media form and the broader relevance of language use. The present thesis addresses these issues directly by examining the language used in Jordanian non-government radio programmes. It examines recordings and transcriptions of a range of programme genres - primarily, morning talk shows and 'service programmes' (barāmiž ḳadamātiyya), and Islamic advice programmes, both of which feature significant audience input via call-ins. The data are examined through an interpretive form of discourse analysis, drawing on linguistic anthropological theory that analyses language as a form of performance, through comparison of radio programmes as 'units of interaction'. This is supported by sociolinguistic data obtained from the recordings, including phoneme frequency analysis, in addition to the author's experience of 6 months of fieldwork in Jordan in 2014-15. The analysis focuses on four major themes: (1) the influence of media context, specifically the sonic exclusivity and temporal evanescence of radio, on language use, as well as the impact of digital media; (2) the indexicality of certain locally salient sociolinguistic variables, and the use to which they are put in radio talk; (3) the role of language in constructing the identity, or persona, of broadcasters; and (4) the role of language in constructing and validating authoritative discourse, in particular that of Islamic texts and scripture in religious programming. Through its analysis of these themes, using selected recording excerpts as demonstrative case studies, this thesis shows that specific strategies of Arabic use in the radio setting crucially affect both the publics - the addressed audiences - of radio talk, as well as the frameworks of participation in this talk - how and to what extent broadcasters and members of the public can participate in mediated discourse. The results demonstrate the unique value of an interpretive study of linguistic performance for highlighting broader social issues, including the inclusion and exclusion of particular segments of the society through linguistic strategies - Jordanians versus non-Jordanians, Ammanis versus non-Ammanis, and pious Muslims versus non-believers; and the use of language to reassert, or occasionally challenge, dominant ideologies and discourses, such as those of gender, nationalism, and religion. This study thus contributes an examination of contemporary Jordanian non-government radio language in its social and political context - something which has not been attempted before, and which provides important insights regarding both the nature of contemporary Arabic media language and its broader social and cultural import.
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Gee, Sarah. "An exploration of impermanence in contemporary ceramic art practice." Thesis, University of Sunderland, 2016. http://sure.sunderland.ac.uk/8320/.
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This practice-led research investigates clay-based impermanent creativity, exploring this means of expression as a contribution to knowledge in the expanded field of contemporary ceramic art practice. The research considers recent developments in innovative work by practitioners from the ceramic tradition, characterised by unconventional uses of material, natural decay and weathering, deliberate destruction, performance and physicality. A key aspect of the research exploration is phenomenographic alignment of personal praxical development with that of contemporaries sharing backgrounds in the ceramic tradition. A case study approach based on a reflexive Schönian and Kolbian cycle is utilised and research material is viewed from trans-disciplinary perspectives to explore and elucidate its nature, impacts and implications. Impermanence in clay is found to de-familiarise art work, altering and enhancing the creative role of percipients. Relationships between work, maker and percipient are explored. Mediatisation of impermanent clay-based art is considered for its impact on work’s reception and interpretation. A perceptible shift is detected in such art practice from the arena of visual art towards that of performance, moving artist and audience relationships towards shared ownership in ceramic creativity, in which co-presence of work and percipient are essential. Aspects of relational aesthetics offer a cogent framework. Consideration is given to clay’s shared significance with other basic materials such as textile in holding meaning beyond its physicality. The thesis contributes to the discourse on methodological frameworks for practice-led research and to academic writing on contemporary ceramic art in its exploration of clay-based impermanence, encompassing maker intentionality, material alteration and destruction, site/location and significance, performativity and unrepeatability, and record. It provides a transferable research model for considering creative impermanence. Areas identified for further research include artist/audience relationships and the nature of creativity, the role of location, performativity as an aspect of contemporary practice, and curation of performance and impermanence.
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Mak, Siu Fai. "A contemporary Christian response to ancestor practice in China." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/30436.
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The objective of this thesis is to discover if it is possible to develop a Biblically -based solution to the pastoral and missiological problem associated with ancestor practice. There are three parts in the thesis. The aim of Part I is to trace the origin and development of ancestor practice up to the present. I propose that: (1) ancestor practice has its socio- political, religious and cultural dimensions, (2) its origin lies in the ancestor quest, and (3) it has undergone three historical developments: an orientation period, a de- orientation period and a re- orientation period. From this study, it is better to hold a holistic approach to ancestor practice and avoid any reductionism. The purpose of Part II is to describe missionaries in China and their encounter with ancestor practice. Their entries are explained as three encounters: with the Nestorians a religious encounter, with the Catholics a cultural encounter and with the Protestants a socio- political encounter. I conclude that from the experience of these historical encounters the best possible way to tackle the issue of the acceptability of ancestor practices for Christians is to approach the problem from a `both /and' perspective. The plan of Part III is to apply some Biblical principles to the issue of ancestor practice and work out a theological model (with Chinese characteristics) to tackle it. Three suggestions are proposed: (1) a biblical -theological perspective towards its socio- political dimension, (2) a pastoral perspective towards its religious dimension, and finally (3) a missiological perspective towards its cultural dimension. I argue for the potential acceptability of the veneration of the ancestors for Christians but I also discuss the `fallen' state of the traditional rites. In transforming traditional ancestor practice, a ritual transcendence is proposed to demythologise the beliefs of ancestor veneration and transform its traditional practices into modern social and civil practices in accordance with both the Christian faith and Chinese tradition.
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Jeeves, Tim. "Towards 'Economies of Generosity' in contemporary live art practice." Thesis, Lancaster University, 2017. http://eprints.lancs.ac.uk/88759/.
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Throughout this thesis, performance theory and the accompanying practice as research are utilised, along with anthropological and philosophical analysis, in order to examine how gift intersects with live art practice. The ways in which it is made and encountered in contemporary (predominantly UK) society are of particular focus. The Horse’s Teeth, a 2012 project that saw the authorship of six new performance works gifted to six artists, is used, along with Bourdieusian notions of cultural capital and Sara Ahmed’s theory around the ‘stickiness’ of emotions to explore how authorship is both subjective lived experience and a means of accumulating capital. By then analysing the affective dimensions of gift giving within The Horse’s Teeth, a model is developed to show how gift can effect subject-formation. Building on this model, organ transplantation is proposed as an exemplary instance of the ‘successful gift’, a gift that both bridges identities and affirmatively increases the capacities of the recipient(s). The Kindness of Strangers, a solo performance in which I investigate the relationship between the work’s audience, my anonymous bone marrow donor and Blanche Dubois, is then used to consider the potential of performance to be such a gift. In the proposed understanding, what the audience and performer give to the performance and each other is presented using Jean-Luc Marion’s work on anamorphosis and Jacques Rancière’s emancipated spectator. Referencing the autobiographical element of The Kindness of Strangers, the transformative potential of Rosi Braidotti’s affirmative ethics is used to explain how the excess of trauma can sometimes be transformed into the excess of gift; a gift to both the traumatised self and, potentially, another. This develops the proposal made by thinkers such as Lyotard, Marion and Derrida that the gift cannot be fully comprehended at the time in which it is given. Inferring from this that the successful performance gift also resists being known by either audience or performer in its totality, the problem of how to make such unknowable performance is explored using Richard Sennett’s writing on craft. The second chapter concludes by considering reciprocity, in particular applause as a reciprocal gift from the audience, as an expression of thanks for what the performer has given. Having established a clear sense of how performance can be understood as gift, the final chapter examines how such gifts sit within capitalism. A variety of funding systems are considered, as well as the manner by which gift and performance, as Illichian blessings, defy capitalist valuation. Capital’s attempts to gain propriety by developing authorial relationships to the blessing is presented through analysis of corporate patronage, before an overview of current activist work to undermine this in the context of oil sponsorship is provided. The work of Liberate Tate, a group formed to break the relationship between BP and the Tate, is considered in particular depth here. The thesis concludes by proposing a reconsideration of how the arts are valued within funding systems, particularly in relation to waste and the way in which funders undermine the gift within performance by demanding quantified outcomes in advance.
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Naray-Davey, S. "New practice-based methodologies for naturalistic contemporary drama translation." Thesis, University of Salford, 2016. http://usir.salford.ac.uk/39941/.
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This practice as research inter-disciplinary PhD’s purpose is to create new knowledge in the area of contemporary and naturalistic drama translation. It straddles the fields of Drama, Acting and Translation Studies but inevitably encompasses the fields of social semiotics and linguistics. The methodology used is of a hybrid nature as it consists of a portfolio of work. The work is divided into two major sections. The first comprises the translation of three Hungarian Contemporary plays into English by the author, followed by the thesis and self- reflection. The thesis will claim that it is by the precise use of the proposed mixed methodology and practical approach to drama translation that new knowledge will be contributed to the field of contemporary European naturalistic drama translation. The use of this methodology is novel in the sense that it claims that the act of translating itself is creating new knowledge. This builds on Nelson’s practice as research model is in which the act of translation is the practice. New knowledge will also be generated by the practice, which is the mise-en-scène of two translated plays as well as the analysis of the Hungarian stage source productions. The use of this hybrid methodology results in the creation of new concepts in the field of foreignising drama translation. The thesis part of the portfolio claims that these new concepts will also serve as tools that will aid the work of scholars and drama translators who chose foreignisation and resistance as their translation strategies. These methodologies will challenge prevailing views in Translation Studies of the primacy of the text in translation. It will challenge Susan Bassnett’s view that it is a superhuman task and not the translator’s role to decode sub-textual meaning in the dialogue. The aim of this methodology is to offer new working concepts for the foreignising contemporary drama translator. This thesis and reflective work will claim and defend the view that in order to achieve a foreignised (Venuti 1998, 2008, 2010) drama translation strategy that adheres to the much debated performability criteria, the drama translator needs to become a cultural anthropologist and perform an excavation of the source culture by using the source production as a tool for translation, especially in translating realia. It will also argue that the drama translator needs to expand and go beyond the traditional translation tools and borrow the naturalistic tools of the actor in order to help with translation challenges. The performance case studies will focus on Hungarian contemporary drama but although this new knowledge contribution is transferable to all contemporary naturalistic drama translation, it will be of a particular benefit to the field of contemporary Eastern European drama translation.
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Karnes, Kevin C. "Soviet Musicology and Contemporary Practice: A Latvian Icon Revisited." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2008. https://ul.qucosa.de/id/qucosa%3A16002.
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When the Baltic states of Lithuania, Latvia, and Estonia were annexed by the Soviet Union at the end of World War II, their new leaders brought not only collectivization, deportations, and myriad other familiar terrors of the Soviet system.
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Hayre, Christopher Maverick. "Radiography observed : an ethnographic study exploring contemporary radiographic practice." Thesis, Canterbury Christ Church University, 2016. http://create.canterbury.ac.uk/14517/.
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This study explores the day-to-day application of digital radiography (DR) within the X-ray environment. This study presents the voices of the radiographers' untold views, attitudes and experiences of DR through the process of observing, listening, retelling and interpreting junior and senior radiographers' responses. There were three stages to this ethnographic study. Firstly, exploring 'what radiographers did' environment by observing clinical practices. This provided 'first-hand' experience of action-in-process. Secondly, 22 semi-structured interviews were undertaken, directed by emerging themes and informal discussions from the clinical observations. Semi-structured interviews provided an understanding of the experiences, behaviours and attitudes of radiographers providing a deeper understanding of the relationship between practice and context. Thirdly, X-ray experiments were undertaken contributing to 'what had been seen and said by participants'. This data was later triangulated to support the research objectives outlined in this PhD research. Observation and interview data were analysed using thematic analysis and grouped into four overarching categories; learning, radiographer challenges, ionising radiation and patient care delivery. X-ray experimental data was inputted into SPSS and later coded. The qualitative data had numerous codes, which generated themes and could be linked in order to generate theoretical descriptions. Multiple-linear regression analysis and Pearson's Correlation provide statistically significant values (p < 0.001) for the experimental models contributing to 'what had been seen and said' by radiographers in the clinical environment. This thesis provides new insights into general radiographic practices using advancing technology. The conclusions that can be drawn from the empirical data is that advancing technology has impacted the day-to-day practices of diagnostic radiographers. Complex phenomena include; current knowledge and understanding, the practice of keeping doses 'as low as reasonably practicable' and impact on patient care delivery. These insights suggest that healthcare and academic environments may require additional support in the aim of delivering optimum patient care.
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Sisson, Evan M., McKenzie L. Calhoun, and Michael A. Crouch. "Dyslipidemia: Contemporary Evaluation and Management." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/6874.
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After much anticipation, new dyslipidemia guidelines have been published by the American College of Cardiology (ACC) and American Heart Association (AHA). The guidelines are a major shift from specific lipid goals to a focus on risk reduction. All pharmacists will need to be familiar with these guidelines in order to provide optimal patient care.
Like all ASHP eReports, this is a brief and straightforward presentation of what you need to know about dyslipidemia treatment, the new guidelines, and where you can turn for deeper understanding of the context. Dyslipidemia: Contemporary Evaluation and Management addresses pathophysiology, clinical presentation, diagnosis, and disease classification, general treatment principles, non-pharmacological treatments, pharmacotherapy, monitoring, clinical controversies, and future treatment, references, and web resources.
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Stolp, Mareli. "Contemporary performance practice of art music in South Africa : a practice-based research enquiry." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71885.
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Thesis (PhD)--Stellenbosch University, 2012.Sensitive areas within this text have been blacked out. Please refer to the attachment.
ENGLISH ABSTRACT: In this dissertation, I examine contemporary South African art music performance practice and the social function it fulfils. Performance practice is understood in this study to mean an art practice or cultural item constituted by three types of 'role-players': performers of art music, composers of works in the art music genre and audiences that assimilate and respond to these works when performed. My own position as a performing artist in South Africa has suggested most of the research questions and problems dealt with in this dissertation, which was approached as a practice-based research study. Practice-based research, an emergent kind of research which aims at integrating practical and scholarly work, is becoming increasingly prevalent in academe internationally, although the present study is one of the first examples of such an approach in South Africa. Drawing on contemporary interpretations of the theories of phenomenology articulated by Edmund Husserl and Maurice Merleau-Ponty, my position as a performer of art music in South Africa and the personal experiences I have had as a practitioner within this art practice are interrogated. While I was involved in a variety of practical engagements during the course of this study, all of which have contributed on some level to the final research product, the research design comprised five 'performance projects' that were designed to interrogate specific issues in contemporary art music performance practice in South Africa. The knowledge gained through these performance projects are presented together with theoretical work in this dissertation. An attempt is made to explicate these subjective experiences gained through practice and interrogate them through the application of social theory, ultimately translating them into an objective research outcome which is presented discursively. In this sense, the research project is approached according to a two-pronged strategy: subjective experiences generated through practice are examined through the use of social theory, ultimately resulting in a discursively articulated research outcome. I suggest in this dissertation that art music practice in contemporary South Africa has been and has remained a cultural territory largely inhabited by white South Africans. I further argue that this practice has shown little transformation since the end of apartheid in South Africa, in spite of the political, social and cultural transformation that has characterized the country since the beginning of democracy in 1994. Drawing on the theories of Homi Bhabha and Regula Qureshi, I posit that contemporary art music performance practice is providing an ideological counter-environment to predominant socio-cultural realities in post-apartheid South Africa. Qureshi suggests that the art music practice of a society 'constitutes a meaningful, cultural world for those who inhabit it'(Qureshi 2000: 26). Such a 'world within a society' is here interpreted as providing a counter-environment within which white South African identity can be articulated, negotiated and propagated.
AFRIKAANSE OPSOMMING: In hierdie proefskrif ondersoek ek die uitvoeringspraktyk van kontemporêre kunsmusiek in Suid-Afrika en die sosiale funksie wat dit vervul. Uitvoeringspraktyk word in hierdie studie geïnterpreteer as ‘n kunspraktyk of kulturele item wat uit drie 'rol-spelers' bestaan: uitvoerders van kunsmusiek, komponiste van werke in die kunsmusiek genre en gehore wat kunsmusiek assimileer en daarop reageer wanneer hierdie werke uitgevoer word. My eie posisie as uitvoerende kunstenaar het gelei tot die navorsingsvrae en navorsingsprobleme wat hierdie studie informeer. As sulks neem hierdie studie die vorm aan van ‘n praktyk-gebasseerde navorsingsstudie. Praktyk-gebasseerde navorsing is ‘n ontwikkelende soort navorsing wat internasionaal toenemend beoefen word. Hierdie studie is een van die eerste Suid-Afrikaanse voorbeelde van hierdie tipe navorsing in musiek. Die fenomenologiese teorieë van Edmund Husserl en Maurice Merleau-Ponty is gebruik om my persoonlike ervarings as uitvoerder van oorwegend kunsmusiek in Suid-Afrika te kontekstualiseer. My betrokkenheid by verskeie praktiese projekte gedurende die studietydperk, sowel as vyf praktiese projekte wat spesifiek vir die doeleindes van hierdie studie onderneem is, het deurgaans die studie geïnformeer. Hierdie projekte is aangepak om die bestudering van spesifieke aspekte van Suid-Afrikaanse uitvoeringspraktyk van kunsmusiek te fasiliteer. Die kennis wat deur middel van die praktiese werk ingewin is, is deurgaans in hierdie proefskrif met teoretiese werk versterk. Daar is gepoog om die subjektiewe ervarings van die uitvoerder aan te vul deur die toepassing van sosiale toerie, met die uiteindelike doel om hierdie ervarings in ‘n objektiewe en diskursief-artikuleerbare navorsingsresultaat te omskep. Die navorsing in hierdie proefskrif volg dus ‘n tweeledige benadering: subjektiewe, persoonlike ervarings wat deur praktyk gegenereer word, word deur middel van sosiale teorie benader, wat lei tot die uiteindelike navorsingsresultaat soos in die proefskrif aangebied. Ek stel dit in hierdie proefskrif dat kunsmusiekpraktyk in kontemporêre Suid-Afrika min bewyse van transformasie toon, ten spyte van die veranderende politiese- en sosio-kulturele omstandighede in Suid-Afrika sedert 1994. Dié praktyk word steeds gekenmerk deur deelname en ondersteuning vanuit die wit bevolkingsgroep. Die teorieë van Homi Bhabha en Regula Qureshi word gebruik om die argument te onderskryf dat kontemporêre kunsusiekpraktyk ‘n omgewing skep wat dien as ideologiese teenpool vir die sosio-kulturele realiteite van Suid-Afrika vandag. Qureshi is van mening dat ‘n gemeenskap se kunsmusiekpraktyk ‘n 'betekenisvolle, kulturele wereld skep vir die wat dit bewoon' (Qureshi 2000: 26). Hierdie 'wereld binne ‘n gemeenskap' word in hierdie proefskrif vertolk as ‘n 'ideologiese teen-omgewing' waarvandaan wit Suid-Afrikaanse identiteit geartikuleer, onderhandel en bevorder kan word.
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Panović, Ivan. "Writing practices in contemporary Egypt : an ethnographic approach." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:e293353f-46d6-42ae-8f1a-37514fe549d4.
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This thesis is an ethnographically grounded description and interpretation of a variety of writing practices observable in an Arabic speaking community, primarily on the Internet. Working with, or in reaction to, the concept of diglossia, of which Arabic sociolinguistic setting is often cited as a textbook example, the majority of scholars have focused their attention on speech as a major site of language variation and mixing. Writing has been largely neglected. This thesis is a contribution to what I hope will become a growing number of works aimed at filling that lacuna. I examine linguistic features of a number of, mostly non-literary, texts in contemporary Egypt where Modern Standard Arabic (Fuṣḥa) and Egyptian Colloquial Arabic (ˤAmmiyya) constitute the theoretical poles of the diglossic continuum. The Egyptian sociolinguistic setting, however, is here understood as being defined and reconfigured by the increasing socio‑economic importance of yet another linguistic variety – English. The analysis of linguistic details is conducted with reference to a broader socio‑cultural context and local language ideologies surrounding the production and reception of a rapidly growing number of texts that employ a variety of features and draw on different linguistic resources, thus often defying, in the outcome, the hegemonic ideological projection that writing is the domain of Fuṣḥa. In order to offer an account of a dynamic, changing and diversified character of writing practices in present‑day Egypt, illustrative examples are drawn from a number of different texts and domains of writing, including Wikipedia Masry, Twitter, Facebook, advertisements, online campaigns for political and social causes, as well as books. The inventory of linguistic resources variously employed by various writers in various circumstances is identified to contain re-combinations across three linguistic varieties, Fuṣḥa, ˤAmmiyya and English, and two scripts, Arabic and Latin.
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Meneses, Romero Mariana. "Women cooking art : hospitality and contemporary art practices." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20638/.
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This thesis examines the notion of hospitality in light of contemporary food-based artistic practices created from 2000 to 2015 by female artists Sonja Alhauser, Mary Ellen Carroll, Leah Gauthier, Ana Prvacki, Alicia Rfos, Jennifer Rubel I, Miriam Si mun, and Anna Dumitriu, and the experimental food artists Sam Bompas and Harry Parr. The aim is to make sense of how food practices, art, and feminism intersect, especially in light of the gendered history of the food system, including cooking, when opened onto a philosophically developed notion of hospitality. I explore the intricacies of hosting the "other", considering the multiple levels in which the relationship between the host and the guest develops. Hospitality is examined as a continuous cycle of relationships where dynamics and discourses of power and of generosity are constantly rehearsed. I focus on four main stages within the food system: 1) the gathering of edibles; 2) the cooking process; 3) the moment when food is shared and ingested with others; and 4) the digestive process. Throughout this thesis, I consider hospitality as an open structure that sheds light on the understanding of the encounters between human and non-human species-including animal, vegetable, and microbial-in the food chain. My analysis is situated within contemporary debates of gender studies, cultural studies, food studies, and philosophy of hospitality, in particular, Jacques Derrida's ethics of the other, and the imperative that "one must eat well". Eating is discussed as the literal and metaphorical assimilation and incorporation of the other, and incorporates feminist theoretical engagements which highlight Western thought as being structured by a series of gendered dichotomies, including those of nature-culture, male-female, mind-body, object-subject. I argue that the philosophical notion of hospitality and feminist theory enable a critical approach to the food system as a continual ethical imperative for and to the other.
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Wood, R. E. "The knitter's tale : a practice-led approach to framework knitting through a contemporary exploration of traditional practices, patterns, skills and stories." Thesis, Nottingham Trent University, 2013. http://irep.ntu.ac.uk/id/eprint/190/.
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This thesis presents the findings of the practice-led investigation which documented the processes of learning the skills of framework knitting, using traditional techniques to establish creative dialogues between Academic, Industrial and Heritage institutions. The investigation was conducted using active researcher participation to determine the contribution that personal experience can make to ‘experiential knowing’. This research was supported by a Collaborative Doctoral Award from the Arts and Humanities Research Council (AHRC) which set the parameters of the inquiry to include creative interaction with locations where framework knitting still takes place. The study supported the preservation of technical skill by establishing a new way to value expert craft knowledge which was used to inspire contemporary creative practice. Through a process of creative learning and reflection, this study used naturalistic observations to identify evidence of creative decision-making and technical skill, which was further supported by the analysis of knitted artefacts and previously unseen workman’s notebooks which were used to identify pattern inspirations, stitch counts and construction methods. Semi-structured interviews were conducted with existing hand frame practitioners, to record their personal experiences of framework knitting. The shortage of knowledgeable experts was a significant limitation to this investigation and therefore the interview testimonies were a vital contribution of primary evidence of practitioner knowledge which enabled creative narratives to develop. The narratives explored themes of Inspiration, Exploration, Communication and Implementation, as well as Creative application. As the first study of its kind to investigate framework knitting beyond a historical or industrial context, this thesis contributes to a new field of creative knowledge which uses practitioner interaction and personal reflection to inform creative practice on the hand frame. This thesis highlights a contemporary direction for future practice-led inquiry using traditional craft skills and practices as a method of inspiring creative investigation.
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Šilinytė, Evelina. "The definition of torture in contemporary international law and practice." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120703_131129-34868.
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Torture is prohibited in a great number of international treaties. Some of the documents prohibit torture in general terms; some of them propose the definition of torture. The purpose of this research is to analyse how the legal scope of torture definition enshrined in the CAT has changed throughout the years and to what extent the definition of torture is applicable in contemporary legal practice. In the first part the international legal regulation will be discussed explaining which international documents prohibit torture, which of them define torture, what monitoring and judicial mechanisms are created. The definition of torture is differently interpreted in the jurisprudence of international tribunals. The actions which were not defined as torture 50 years ago are understandable as torture in recent jurisprudence. The second part is aimed to analyse how definition of torture evolved in international law during the years and how it was narrowed in the USA practice. Different interpretations of the definition of torture are compared in order to analyse which elements of torture definition enshrined in the CAT used in contemporary international judicial practice and to what extent they are applicable. This explains to what extent definition of torture is applicable by international judicial bodies in contemporary practice and what requirements it should fulfil to ensure the needs of contemporary human values. In the third part the definition of torture applicable in... [to full text]Tarptautinės sutartys draudžia kankinimus. Vienos jų tiesiog draudžia kankinimus, kitos – pateikia kankinimų apibrėžimą. Šio darbo tikslas – išanalizuoti, kaip keitėsi teisinė kankinimo apibrėžimo apimtis ir kokia apimtimi jis yra taikomas šiuolaikinėje tarptautinės teisės praktikoje. Pirmoje darbo dalyje aptariama tarptautinė teisinė bazė, aiškinant kurie dokumentai draudžia kankinimus, kurie nustato kankinimų apibrėžimą, aiškinama kokie yra sukurti monitoringo ir kiti teisines priežiūros mechanizmai. Kankinimų apibrėžimas yra skirtingai interpretuojamas tarptautinių tribunolų jurisprudencijoje. Veiksmai, kurie prieš 50 metų nebuvo klasifikuojami kaip kankinimai, šiandien jau patenka į šią sąvoką. Antroje dalyje analizuojama kaip kankinimų apibrėžimas, pateiktas JT Konvencijoje prieš kankinimą, laikui bėgant, kito ir kaip jo taikymas buvo apribotas JAV praktikoje. Lyginamos įvairios kankinimų apibrėžimo interpretacijos, siekiant išanalizuoti JT Konvencijos prieš kankinimą apibrėžimo elementus, naudojamus šiuolaikinėje tarptautinėje teisėje ir išsiaiškinti kokia apimtimi jie yra taikomi. Taip paaiškinama, kokia apimtimi šiuolaikinėje praktikoje šį apibrėžimą taiko tarptautinės teisminės institucijos ir kokius reikalavimus jis turi atitikti, tam kad užtikrintų šiolaikinių žmogiškųjų vertybių poreikius. Trečioje dalyje analizuojamas kankinimo apibrėžimas, kuris yra taikomas Lietuvoje. Reikia pripažinti, kad Lietuvoje nėra aiškaus kankinimų apibrėžimo ir normos... [toliau žr. visą tekstą]
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Conger, Elizabeth C. "Alienation theory and its relationship to contemporary Arte Povera practice." AUT University, 2007. http://hdl.handle.net/10292/233.
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In this Exegesis I explore the rehabilitation of marginalized materials through a sculptural practice. The materiality of the work focuses on the commonality of the everyday through selection editing and transparency of materials. The materiality and concern for material presence in my work are used metaphorically to explore ideas of alienation in contemporary sculpture. My work has been informed by the writing Berthold Brecht specifically his alienation effect [A-Effect], a theatrical and cinematic device "which prevents the audience from losing itself passively and completely in the character created by the actor, which consequently leads the audience to be a consciously critical observer". Through the use of situationist tactics in alienation works I seek to explore an atmosphere of fragile transience that can be recognized in ourselves even as we struggle against it.
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Tong, Kim Christina. "The sur(real) sublime : Bourgeois, Hesse and contemporary sculptural practice." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314306.
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Evans, Michael. "Contemporary abstract painting and spiritual experience : an investigation through practice." Thesis, London Metropolitan University, 2013. http://nectar.northampton.ac.uk/5048/.
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This investigation reaches beyond one single discipline or mode of discourse, exploring current possibilities for contemporary abstract painting and spiritual experience. Types of experience associated with previous 'spiritual' abstract painting are explored in view of the need for new languages for abstraction and spirituality in both word and image. This is developed alongside. the recognition of the importance of engagement with the contemporary world for abstract painting (in this case via technology). The investigation is given a theoretical critical context through reference to and analysis of writers such as Donald Kuspit, Peter Fuller, James Elkins and Jeremy Gilbert-Rolfe and three leading painters Gerhard Richter, Jan McKeever and David Reed along with a record and analysis of my own painting and digital images. Abstract painting and spiritual experience are subjected to critique and reinterpretation within this investigation and a contemporary concept of the spiritual emerges through an opening of thought found within postmodernism and a renewed critical interest in negative theology. .' Negative theology is seen as having similarities to a broader apophatic outlook found both in contemporary thought and art. This leads to a contemporary model of abstract painting and spiritual experience using a language of doubt through terms such as the unknowable, unrepresentable or unintelligible. The initial process based paintings of this investigation explored problems surrounding authorship and of authorial suspension via process, however a counter and more positive aspect of process emerged from an alternative alchemical or hypostatic view of process painting as a deep. engagement with matter. The limitations of process painting are considered, for example, basic repetitiveness, lack of surface and form, lack of imaginative engagement and most importantly the lack of risk on an emotional or psychological level. Previous modernist models of spiritual abstraction are seen to be made problematic by contemporary critical theory resulting in the need for a new, contemporary language for spiritually motivated abstract painting. Through the use of image deconvolution software (normally used within the sciences) relatively formless process paintings gave rise to new digitally generated form. Subsequent paintings were a response to the potential of these digital forms arid reintroduced both brushstrokes and form within an abstract, illusionistic space. This investigation explores a language of the unknown and unfamiliar within a broader context of doubt as positive strategy. Process and technology along with a critical reintroduction of authorial subjectivity and imaginative response gave rise to strange and unpredictable paintings which exist within a contemporary discourse of the apophatic, a mode in which, I argue, a contemporary form of spirituality may also be encountered.
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Kelly, Susan. "Micropolitics and transversality : language, subjectivity, organisation and contemporary art practice." Thesis, Goldsmiths College (University of London), 2009. http://research.gold.ac.uk/6496/.
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Kozak-Holland, Mark. "The relevance of historical project lessons to contemporary business practice." Thesis, University of Salford, 2013. http://usir.salford.ac.uk/30644/.
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Despite worldwide growth in project management there is a significant gap between research and practice. The discipline lacks a unified theory and established body of research. Bodies of knowledge reflect process and technique yet frequently neglect the political, social and ethical dimensions of project management. The theory of established academic disciplines evolves through history and by a study of their historical antecedents. The principal question of this thesis thus is concerned with the relevance of historical projects lessons to contemporary business practice and contemporary project management? The secondary question is concerned with the development of an approach to studying this. In addressing these questions the thesis examines some of the challenges with contemporary project management literature, and literature that discusses the relevance of historical project lessons including that from other disciplines such as management. The thesis describes the use of a qualitative approach, based upon an interpretivist epistemology as the basis for the use of case studies. In addition, it discusses the use of historiography and interdisciplinarity. It then examines the methods used and findings of nine publications and their contributions to the research questions. The findings of the thesis establish that project management has a deep history, and has been successfully used by developing cultures since the beginnings of civilization. They also establish that historical projects, when interpreted through a business/project management lens, can be understood by contemporary project managers and are of significant and meaningful value to contemporary business practice. The methodology to establish this is also described. Thus the thesis will contribute to both the project management body of knowledge, by broadening it out and augmenting contemporary case studies, and to addressing the theory–practice gaps within project management.
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Sifakakis, Spyros. "Constructing art : value and practice in a leading contemporary gallery." Thesis, University of Birmingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438585.
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Lanskey, Caroline Mary. "Student autonomy in schools : contemporary and earlier thinking and practice." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612961.
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