Dissertations / Theses on the topic 'Invisible'

This thesis is an investigation into the visualization of cosmological propositions associated with string theory. Research into the work of contemporary theoretical physics led to the question, how does one visualize what cannot be seen? The imperceptible nature of the hypothetical propositions of string theory opened up an exploration into what forms in the past have been given to invisible structures and what kinds of methods have been used to visualize them? My artistic research looks at some of the methodologies and methods used by artists and scientists to visualize structures that can't be seen by the naked eye. I present a series of examples that reflect some of the direct and indirect methods used to instantiate invisible structures in the arts and the sciences. These examples configure an eclectic atlas of visualizations that evidence the use of drawing, indexing and simulation to reveal imperceptible structures that are physical, temporal, recorded and invented. It considers some of the visual shifts in the interpretations of other cosmological models and the impact technological advances have had on the visualization of the micro-cosmos. It traces some of the connections linking visualization practices in the arts and sciences and highlights the importance of inference and imagination in the visualization of what can't be seen. My conclusion indicates that there are many ways to visualize what lies beyond the naked eye but that all involve human agency. The findings point to the role tacit knowledge and context play in the fabrication of visualizations of invisible structures. It highlights the historical specificity of visualization practices and the importance aesthetics play in both the arts and sciences. I conclude that to visualize invisible structures is to weave an intricate web of fact and fiction. But the elaboration of these visualizations can facilitate understanding and offer insights into otherwise imperceptible phenomena.
Este proyecto investiga la visualización de las propuestas cosmológicas relacionadas con la teoría de cuerdas. Esta consideración del trabajo teórico de la física contemporánea me llevó a cuestionar cómo se visualiza lo que no se puede ver. La naturaleza imperceptible de las propuestas hipotéticas alrededor de la teoría de las cuerdas me condujo a una exploración sobre las formas en que se han visualizado las estructuras invisibles en el pasado, y los métodos usados para crear estas visualizaciones. En esta investigación artística se analizan algunos de los métodos utilizados por artistas y científicos para visualizar las estructuras que son imperceptibles a simple vista. Para ello, se presentan una serie de ejemplos que reflejan los métodos directos e indirectos utilizados para mostrar las estructuras invisibles en las ciencias y las artes. Estos ejemplos configuran un atlas ecléctico de visualizaciones que evidencian el uso del dibujo, de los sistemas de impresión y de la simulación, como medios para revelar estructuras imperceptibles, ya sean físicas, temporales, registradas o inventadas. Se han considerado también las transiciones en los patrones cosmológicos y el impacto que han tenido los avances tecnológicos en la visualización del microcosmos. Se trata de trazar las conexiones entre las prácticas de visualización de las artes y las ciencias, subrayando la importancia de la inferencia y la imaginación en la visualización de aquello que no se puede ver. Hay muchas maneras de visualizar lo que subyace más allá de lo que el ojo humano es capaz de ver, pero la intervención humana está implícita en todas. Se constata el papel del conocimiento tácito y el contexto en la fabricación de las visualizaciones de las estructuras invisibles. Se remarcan los estilos históricamente concretos de las visualizaciones, así como la importancia de la estética, tanto en las artes, como en las ciencias. En conclusión, visualizar las estructuras invisibles es como tejer un tejido intrincado entre la realidad y la ficción. No obstante, su desarrollo puede transformar nuestra comprensión y llevar a nuevos conocimientos sobre elementos y fuerzas hasta la fecha imperceptibles.

Die Dissertation beschäftigt sich mit den Vorstellungen von Krankheit, Behinderung und HIV/AIDS in KwaZulu-Natal, Südafrika. Besonderer Augenmerk liegt dabei auf den kulturellen Wurzeln und sozialen Repräsentationen von Behinderung und HIV/AIDS. Die Ergebnisse der Studie zeigen dass die sozialen Interpretationen von Beeinträchtigung erheblich dazu beitragen dass Menschen mit Behinderungen in KwaZulu-Natal einem hohen HIV-Ansteckungsrisiko ausgesetzt sind und gleichzeitig dafür sorgen dass diese Menschen kaum Zugang zu Aufklärung und medizinischer Versorgung haben. Die Studie geht bei der Analyse über den Blickwinkel Behinderung hinaus und beleuchtet südafrikanische Gesellschaftsverhältnisse auf makrokultureller, mikrokultureller und individueller Ebene. Die Studie schließt mit einem Ausblick auf Veränderungsmögichkeiten im südafrikanischen Kontext.
The study focuses on the interweaving patterns of stigmatisation between disability and HIV/AIDS in KwaZulu-Natal, South Africa. The study was designed to understand the cultural roots of non-medical representations of disability and HIV/AIDS. The results show strong evidence that the way in which people are prone to think about and respond to disability and HIV/AIDS exposes people with disability to a particularly high risk of infection while simultaneously decreasing access to treatment and care. While unfolding hidden meanings and notions about disability and HIV/AIDS, the study analyses both phenomena on a macrocultural, microcultural and individual level. The study concludes with key messages emerging from the empirical research as well as from historical and policy analysis. Through this, it attempts to provide some guidance for transformation.

Thesis (M.F.A) -- University of Maryland, College Park, 2006
Thesis research directed by: Dept. of English. Title from t.p. of PDF. Includes bibliographical references.. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

The aim of this paper is to illuminate the ways in which working class women are invisible within the feminist and ecofeminist movements. Using the faces and forces of oppression as presented by Iris Marion Young and Hilde Lindemann, I show how the working class experiences oppression. I also show how oppression based on class differs from that based on gender and how these differences contribute to the invisibility of working class women within feminism. In the second section, I use Val Plumwood and Karen J. Warrens versions of ecofeminist philosophy to show how working class women are again absent. Were ecofeminists to include working class women, specifically rural folks and farmers, the idea of attunedness to the land could be both better understood and incorporated within the environmental movement at large.

Invisible weaving is constructed of my previous works, a definition of textile that allows our day-to-day action and routine patterns to be included as invisible textile, discussion on my works in relation to other artists and an overview of my final piece. The essay sets out to take a comprehensive look at obsessive-compulsive disorder, that I used as an aspiration for my masters work, where I try to portray that condition into a physical form.

How is nature conceived today, a generation into the environmental movement? Many contemporary artists grapple with how to reconcile our inheritance of both a precarious natural world and the culture that created it. My work investigates the subtle intricacies of our relationship with nature. I use photography to develop a way of seeing that points to the often-unnoticed nature in front of us. In particular, my work recognizes and re-imagines nature's deep connections in the context of our ecologically changed world.

This project stems from a personal experience, when I saw an image of my magnified blood cells skimming erratically across a computer screen. This interaction with technology and parts of myself that are usually unseen prompted my explorations into this area of research - the realm of the invisible. This broad and fascinating field of enquiry has preoccupied artists for millennia and has led me into an exploration of art, science and philosophy and how these disciplines have explored the realms beyond the senses. In particular, I have found that a convergence of these previously independent areas of thought is manifesting within contemporary culture as the advance of technology reveals more and more the mysteries of the universe. Developments in physics and cosmology, in particular, challenge our ideas about reality and how we perceive it, and raise questions about our place within the scheme of things that are having a big impact on contemporary thought. My project engages with a cluster of issues concerning the impact of technology on visual representation. My area of studio practice is contemporary painting. In this exegesis I establish the context for my project by showing how advances in technology have influenced our visual representations of reality, and how these developments have always been and continue to be an area of fascination to artists. We are currently subject to vast amounts of information and an abundance of visual material emanating from science and technology, which has not only permeated the popular imagination but has influenced our conceptions of how we represent the universe. Lens-based technologies continue to reveal information that challenges and alters our understanding of the underlying structure of the physical world and beyond. At the microscopic end of the scale scientists search amongst sub-atomic particles for new dimensions, whilst information from deep space reveals the ripples from the beginning of time - the big bang. At the same time, the fractal geometry of chaos theory makes visible the shapes embedded in the fabric of motion; the self-similarity of fractals are a way of seeing infinity. This paper locates my project within this area of visual enquiry via a discussion of the work of some contemporary artists who share an interest in this broad and perhaps limitless field. In painting, this field has its origins in the pioneering abstractionists of the early 20th Century, who were also influenced by the scientific and technological advances of their time. Within this discussion I have situated the relevant scientific developments that relate both to the historical trajectory of art and to my own practice, as well as engage with some of the philosophical issues that arise from this subject. Chapter one introduces a convergence of science and philosophy, where current cosmology points to a metaphysical notion of holism in which all things are interconnected. Chapter two discusses how the advance of lens-based technologies to probe the unseen realms in the early 20th Century influenced representations of a world beyond appearances that had a huge impact on artists. Chapter three looks at how our developing knowledge of natural systems influenced biomorphic abstraction in early 20th Century painting and links the exploration of chance and automatism in Dadaism with scientific notions of randomness and uncertainty. Chapter four discusses the contemporary field and how the practice of artists such as Ross Bleckner and Mark Francis, among others, have also produced a technological aesthetic influenced by developments in representation stemming from physics and cosmology. Chapter five locates my own studio practice within this context and describes the motivations and processes integral to my work in relation to the metaphysical implications of the field of enquiry that this project engages with. When viewed within this context of art, philosophy and science, the final outcome of my project is an exploration of the unity of the underlying structure of existence.

This collection of memoir essays chronicles the author's 19 year struggle with chronic depression. "The Invisible Dragon" explores the onset of the disease and its cure. "The Silent Typewriter" looks at how it affected the author as a writer. "Roses for Trish" discusses how it affected his wife. "My Mother's Son" explores the possibility that he inherited depression from his mother. The final essay, "The Dragon Returns" probes the author's life in 2012 with the probability that he has a personality disorder. The preface examines several depression memoirs and explores the strategies used by William Styron, Elizabeth Wurtzel and Kay Redfield Jamison to prevent sliding into the pitfalls inherent in a linear structure. Among these are the use of alternative structures, language, characterization, focus and imagery.

Visualising the Insivible is a project whose final materialization reflects upon our connection with information and how it can immediately affect the way we view the world beyond and around us. Throughout my research and the development of this project, several “meta-words” relevant to this project had to be considered: respect, dignity, integrity and information accuracy, thus redefining a challenge within a challenge and, more concretely, the need to contemplate upon a topic of our time that happens to influence politics and society alike, locally, but with a global effect and long term impact. With this project, the role of the visual communicator is highlighted in a different way. His or her role becomes an agent in itself, a curator of information, a journalist, an invisible activist. The role of the designer and the purpose of design as it is commercially perceived is questioned, challenged and confronted.

This essay will investigate the role of electricity in Ralph Ellison's Invisible Man, in connection to the concept of Otherness, as a result of race differences. It will argue that electricity in the novel is used as a metaphor in discourses of power by the oppressive white society, as well as a means of resistance for the protagonist/narrator, who is socially invisible because of his race. This will be done by performing a close reading of the novel focusing on the way Ellison uses the metaphor of electricity to deconstruct the hierarchy between black and white on several levels. Three main episodes will be analysed, in order to prove these claims: the Battle Royal, the Liberty Paints Factory Hospital and the Brotherhood Speech. The essay will also draw a parallel between Invisible Man and Mary Shelley's Frankenstein, in order to further clarify the issue of Otherness in connection to electricity, and the aesthetic value of electricity in literature.

This dissertation is comprised of a collection of poems preceded by a critical preface. The preface considers the consumed animal body as a metaphor in contemporary American poetry, specifically in the works of Galway Kinnell, Li Young Lee, and Brigit Pegeen Kelly. The consumption of the mute creature allows the poet to identify the human self in the animal other, and serves as a metaphor for our continuity with the natural world. I revise Owen Barfield’s notion of “original participation,” positing that through imaginative participation, the poet and the reader can identify the animal within the self, and thus approach a fuller understanding of both the self and the outside world. We identify the animal other within the human self, and in of this act of relating, we are able to temporarily transgress the boundaries of the individual self to create art that expresses continuity with the outside world. This argument brings about a discussion of text as an act of consumption, and the way and which this can symbolize the ways in which the self is altered through the act of reading. The book-length collection of poems, entitled Marvels of the Invisible, won Tupelo Press’s 2014 Berkshire prize for a first or second book of poetry. The poems look to sources like 17th and 18th century scientific letters, modern and contemporary art, and recent studies in biological phenomena in order to parse the intersection between personal experience and the outside world. The title of the collection points to the conceptual interests of the book: through the lens of scientific phenomena, memory, and personal history, one begins to see that what seems very small (the ant under a microscope, a Russian nesting doll, two people on horseback) are, in fact, individual offerings that articulate one’s place in the cosmos. The collective voice I advocate in the critical preface appears in these poems, especially “Echolocation,” “My Name in Sleep,” “Civilization,” and “Narrative,” all of which make use of the animal-as-metaphor. This collective voice is particularly female, and deals with motherhood, loss, and childhood experience. Poetry, as part-myth, longs to transgress the felt boundaries of the self; it must see that self as inextricably dependent on the natural world.

Existing literature about autistic workers concentrates on the troubles autistics have in the workplace; these problems are linked back to documented deficits in autistic people, thereby constructing a picture of autistic workers as people who need to be helped. There have been no academic studies asking autistic adults to give their general impressions on their work environments. The paucity of narratives from working autistic authorities has effectively made them into a hidden, or invisible population. We do not know if they agree with the views presented about them. We do not know what jobs they are in or in what levels of authority they are working. The only way to understand working autistic adults and their worth and presence in the workforce, is to ask them. This exploratory, qualitative study asked 38 autistic adults (currently working or who have a past work history) 55 questions about their work environments. Most participants provided elaborative answers about their work experiences. Participant experiences often contradicted current literature about autistic adults or mentioned little known phenomenon. Confirmation of existing themes in autism literature was sometimes arguable. The narrative accounts gathered in this study give new opportunities for research into autistic adults and their places in society.
Master of Science

There is increasing acknowledgement of and concern over the growing social stratification in our society. This bifurcation is demonstrated in the widening gap between the wealthy and impoverished. A college degree is an especially critical asset in helping to break multi-generational cycles of poverty. Unfortunately, low-income and first-generation college students face daunting obstacles on their paths to college graduation. First-generation status and low-income status are each negative predictors of college success. This is a study focused on the success, as defined by persistence to graduation, of first-generation students from low-income backgrounds. It introduces faculty, college administrators, and policy makers to students from this background at a rural New England public college who were close to completing their college degrees. The research questions were (a) to what factors the students attributed their success, (b) what oncampus programs or services were helpful in leading to that success, and (c) how could factors identified as leading to success among these students be leveraged to assist the success of other students in this population? Criterion sampling was used to determine an eligible cohort. The three criteria identified were (a) first-generation status, (b) low-income background, and (c) likelihood of graduation, based on accumulated credits. Through qualitative interviewing I learned from these students to what they attributed their success. This research approach enabled me to gain in-depth information on the personal backgrounds of the individual students interviewed. The participants’ narratives – their life stories – drove the study. Extended quotes from respondents were compiled. Narrative analysis was used to code the data. Major themes that emerged included (a) the critical significance of faculty, (b) the value of support services, (c) the importance of flexibility in course requirements and delivery methods as well as program requirements, (d) the high value placed on positive reinforcement and feedback as a positive motivator, and (e) the ways in which the challenging aspects of their backgrounds, misunderstood as deficits (e.g., unvalued social and cultural capital), helped them to develop strengths instrumental to their success. The resulting recommendations focus on areas where the data indicated that institutional interventions could increase the likelihood of college retention and success. These include (a) better utilizing pre-arrival materials and programs as anticipatory socialization opportunities, (b) maximizing first-year celebratory socialization initiatives, (c) providing targeted support based on student background traits, (d) instituting faculty training and development focused on how their role and teaching styles affect student success, (e) reviewing strategies for informing students of services, and (f) leveraging the desire of students to assist their peers who have not yet realized their level of success. The hope is that the resulting knowledge gained will inform future practice as well as assist higher education faculty and staff to work toward the success of this student population.

Ramohoebo Square, the heart of Atteridgeville, currently lies dormant. This document explores the possibility of introducing a new pattern of events to expose the extraordinary in the midst of the mundane. Conventional approaches to township architecture are challenged as a means to return place to the citizens of Atteridgeville. This study is dedicated to recreational space guided by an underlying theme of the surreal in an attempt to celebrate and enhance the quotidian by allowing for moments of serendipity and reverie. An argument is developed towards changing attitudes and preconceived ideas towards townships and the bodies who occupy them by proposing a new perspective on old systems.
Ramohoebo Square, e gona kwa boteng ba Atteridgeville, mme e itlomollogilwe e bile ga e diriswe. Lekwalo le, le rata go seka seka ka kelotlhoko, mekgwa e lefelo le le ka dirisiwang ka gone go re le manontlhothlo a lone a itsewe, mme gore le tsoswe boswa. Mekgwa e etlwaelegileng ya thulaganyo kago mo Attridgeville, ga e thotloetse gore baagi ba kgale ba Attridgeville gore b aka boela moroga go nna foo gape. Tlhatlhobo ya lekwalo le, e lepane le ditulo tsa go goinntsha bodutu le go roba monakedi. Tlhatlhobo e, e tshegeditse ke molaetsa wa go iteka go ipela le go ka tokafatsa temogo, ditiro le metshameko ee tlwaelegileng, mo lefelong le le didimetseng, le le roroetsang monagano. Lekwalo le, le susumetsa gore go tswhanetse go fetolwa maikutlo, mekgwa le menagano ka ditorotswano tsa batho batsho, ka go eletsa kgotsa gore methale ya kgale e tlogelwe.
Mini Dissertation (MArch (Prof))--University of Pretoria, 2016.
Architecture
MArch (Prof)
Unrestricted

Sound in our human world is broken down into two general types : desirable and undesirable. Unwanted sounds in our lives, that we also call “noises”, induce diverse kinds of physical and psychological reactions, many of them unhealthy. As humans living in the Anthropocene, we bring noise with us everywhere we go, creating soundscapes of random sources that we either enjoy or find annoying, while masking more aesthetically resonant sounds. As our modern society is moving faster, the urban soundscape becoming noisier, and our attention taken by technology, we forget to pay attention to our surrounding world. By questioning noise and collaborating with it, this present work aims to give other qualities, sonorities and colors to sound, to change our perception of noise pollution within an urban acoustic context. How does our perception of noise impact our behaviors ? Our social and spatial interactions and our attention towards our surrounding environment ?  Could we find oher qualities that used to be invisible if we would approach the world with our sense of hearing ?

My master degree project is investigating how certain ideas from the traditional Japanese culture can be used within the field of interior design. The project has resulted in everyday objects - lamps and room dividers. In my opinion, these objects can very effectively be used to add life and poetry to space. I wanted to make objects for meditation and for keeping the balance of mind. Another ambition with the project has been to find ways to express immediate emotions through this specific media. For this reason I have turned to the technique of Japanese calligraphy1. This technique, which I have practiced for 15 years, is expressing ideas of crucial importance to my work – the philosophy of Zen2. The Japanese rock garden, Karesansui (“dry mountain water”), is another important part of my work. In simple words it represents the "empty and imperfect". Karesansui is the perfect manifestation of what I want to express about Japanese culture. The soul and logic, the very idea of my work – all of it can be found in the Karesansui. My work, like the Karesansui, is encouraging the viewer to take an active, creative part in the process: the imagination of the viewer is what makes it complete. My intention is, by using the Karesansui principle, to reveal what I think is the main idea of the Japanese culture. Apart from this, I also hope that my design will prove to meaningful and reasonable in its every day use.
Textil formgivning / Master 2009 Textile in the Expanded Field

Invisible Boundaries has as its practical project a photographic archive of 1200 images that sequentially documents and records my living space by (re- )visiting the same locations, objects, traces and detritus over a period of three years, 1999 to 2002. This resulted in two major national exhibitions at the Michael Tippet Centre, Bath Spa University 2002 and The Thelma Hulbert Gallery, Honiton 2005. Here photographs from the project Invisible Boundaries were displayed in 27 enlarged photographic images and a cdrom of 700 images. My written dissertation describes and explores the relationship between my varIOUS recording methods and the various evocative outcomes produced as an exhibition, where images are visually enlarged, magnified and displayed, and a cdrom, where implicit details are archived and revealed in greater scope and magnitude. Chapters 1 and 2 (The Work and The Archive) explore in detail the photographic collection in my work and explicitly in two major works, Gerhardt Richter's Atlas (2004) and Sol LeWitt's Autobiography (1980), two large bodies of archived photographic works. In Chapter 3 The Domestic and Personal, Invisible Boundaries is considered alongside modern documentary practice relative to the home context through the images of Martin Parr, Nan Goldin and Larry Sultan. Both personal and objective, my thesis specifically analyses the projects Signs of the Times (Parr 1992), The Ballad of Sexual Dependency (Goldin 1982) and Pictures from Home (Sultan 1989). The practical work allowed for the single image to be taken, stored and reviewed against a larger body of images that formed the archive. This practical analysis is concluded in Chapter 4, Photographic Fiction and Loss, which draws on the contexts of documentary and archival practice established in my work, where these works become an emotional and nostalgic product. Throughout all chapters I am interested in the continued dominance of the singular image in contemporary writing at a time when digital technology and culture are making the multiplicity of images prevalent. Overall Invisible Boundaries is an in-direct autobiographical and cumulative photographic archive. Through its continuous photographic recording of the rooms, spaces and items in my home, it shows how the tracings and residues of an existence and the banality of moments, holistically form an archive of historical moments, which also says something about my life.

The present thesis is about aspects of Wagnerism in the works of T.S. Eliot, in terms of both influence and affinities. The opening chapter offers a brief historical background to Eliot's familiarity with and relation to Wagner, as well as an account of the principal issues to be discussed in the following chapters. The two artists' volumes of criticism mostly show in theory how they work in practice. One key theme there is the maintenance of the idea of tradition and at the same time that of revolutionizing the arts (poetry, opera and drama). Eliot's interest in music, notably in the use of the Wagnerian leitmotif, is one of the highlights of this study. Then, Eliot's concern for myths: his 'mythical method' is discussed in a separate chapter for comparison with Wagner's way of handling myths in his operas. Other important topics feature drama, the Greeks and Shakespeare, and poetry, especially Dante's, the Romantics' and that of the French Symbolists. Certain themes common in both (like salvation and love) are tackled in more than one chapter because of their relevance throughout, but a selection of motifs is singled out in a separate chapter. The study also investigates Eliot's and Wagner's relation to art and life from religious (Buddhism and Christianity) and philosophical (Schopenhauer and Nietzsche) paints of view. Where relevant, some biographical data shedding light on their arts are touched upon--e.g. their personal (including marital) experiences and their anti-Semitism. The concluding chapter rounds off the subject by mainly offering some possible reasons for Eliot's obscure and neglected Wagnerism.

Grant Morrison?s comics series The Invisibles invites the reader to explore the functioning of narrative gaps and the ways in which comics uniquely utilize them. The invisible territory of gaps within the narrative structure is, to the main characters in The Invisibles, the territory where text and image, where mere appearances, become a transgressive reality, a pushing of reality beyond itself. Such breaks are expressed as those within the structure of reality, but more fundamentally they reveal breaks in psychological structuration, in the system of symbols, in signs by which human reality is held together and manifested as such. This study seeks to show these gaps specifically as they function on conveying an experience to the reader through the involvement they bring. The psychoanalytic theories of Jacques Lacan represent an instrumental framework to understanding both this psychological break Morrison expresses and the functioning of comics? invisible territory in involving the reader experientially, its ability to translate extreme psychological experiences directly to the reader. Here, what the text shows is not a reaching into a transcendental identity, nor an achievement of plentitude and resolution?there is no reconciliation to oneself as oneself given. Instead of providing a traditional view of balance and ?seeing things rightly,? there is the break, the uncharming intrusion, the trauma that needs to be faced, addressed, and assumed. This study, then, explores the act of constantly passing through and assuming the irreconcilable breaks the series shows in the reader?s reality

Thesis (M.S. in Electronic Warfare Systems Engineering)--Naval Postgraduate School, September 2007.
Thesis Advisor(s): Fisher, Edward. "September 2007." Description based on title screen as viewed on October 22, 2007. Includes bibliographical references (p. 109-118). Also available in print.

This context statement presents a critical examination of my work as a documentary photographer, focusing on the long-term project Nowhere People (2005-2016). It reveals as well the impact statelessness has on individuals and communities around the world. Given the interdisciplinary nature of this topic, the statement will employ methods of auto-ethnography as well as theories of state, human rights, memory and identity in order to illustrate the significance of the visual in articulating the lives of stateless populations. This statement attempts to connect my own experience and journey of working in the field of documentary photography with the growing discussion and debate related to the state, human rights, nationality and the rights of non-citizens. I will demonstrate how this portfolio of public works presents a multidimensional portrait of this issue in a way that contributes to filling in substantial evidence gaps in the context of human rights by making the various elements of this invisible condition, visible. In addition, I will survey photography’s capacity to translate deficiencies inherent within human rights and international law and examine its role in challenging contemporary definitions of citizenship and identity. I will discuss how I have navigated my work and the project Nowhere People through debates related to subjectivity, agency, representation, spectatorship and the interconnectedness between photographer, subject and viewer. I will also detail the pragmatic decisions I have made relating to the authorship and dissemination of the work to various audiences in relation to the tectonic shift in the access to information and use of the image within this shifting paradigm of visual culture.

Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2015.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 81-85).
The problem of maintaining complete control over and transparency with regard to our digital identity is growing more urgent as our lives become more dependent on online and digital services. What once was rightfully ours and under our control is now spread among uncountable entities across many locations. We have built a platform that securely distributes encrypted user-sensitive data. It uses the Bitcoin blockchain to keep a trust-less audit trail for data interactions and to manage access to user data. Our platform offers advantages to both users and service providers. The user enjoys the heightened transparency, control, and security of their personal data, while the service provider becomes much less vulnerable to single point-of failures and breaches, which in turn decreases their exposure to information-security liability, thereby saving them money and protecting their brand. Our work extends an idea developed by the author and two collaborators, a peer-to- peer network that uses blockchain technology and off-blockchain storage to securely distribute sensitive data in a decentralized manner using a custom blockchain protocol. Our two main contributions are: 1. developing this platform and 2. analyzing its feasibility in real-world applications. This includes designing a protocol for data authentication that runs on an Internet scale peer-to-peer network, abstracting complex interactions with encrypted data, building a dashboard for data auditing and management, as well as building servers and sample services that use this platform for testing and evaluation. This work has been supported by the MIT Communication Futures Program and the Digital Life Consortium.
by Amir Lazarovich.
S.M.

The artist's process in which she examines the built environment through the medium of black and white photography. By tracing the trajectory of her awareness of architecture from her early career as a dancer, to the making of photographic images, the artist illuminates the process of deconstructing architectural and pictorial space into fragmented yet illusionistically convincing photographic montages. Influenced by the urban localities in which she dwells, she tells the story of being captivated by the post-industrial landscape of Williamsburg, Brookyn, NY, followed by landing in New Orleans and her fascination with post-Katrina architecture. Grounded in the analog techniques of traditional black and white photography, Levitsky describes the various means by which she alters her images to create visionary reconstructions of buildings in transitional states.

Anotation Limits and possibility of crossing them, invisibleness, invisible factors, unexpected surprises, secrets, imagination, fantasy, dream. Situations that unfold us beauty of casual day and rareness of every moment we experienced. Chronognosis of an artist, world appearance, new dimensions, perspective of individual standing inside collectivity, but looking at it from distance. Possibility of revelation of individual inner world is offered to the public through an artwork. Creation of such an artwork of course insist on the essential ability of an artist adaptation into the real world, ability of communication with his environment and society, ability of solving problems and acting in different situations. It applies to the team cooperation, especially in creative process of theatre making, double. This work Borders of scenography and stage design invisible (Hranice scénografie a stage design invisible), discourse artist existence within reality. It illustrates on both general and particular examples the wideness of the scenographer?s work, which encircle the prime meaning of scenography as an art component of the performing arts. Work, which take place in determinate borders of scenographers field of activity, and beyond the scenography itself, while it stays unseen in the final show.

Dans son etude de quelques oeuvres d'ecrivains americains contemporains (ellison, bellow, malamud, barthelme, delillo et auster), l'auteur s'attache moins a reperer le "cadre" new-yorkais dans les descriptions du recit qu'a deceler la nature metamorphique et creatrice de la cite telle qu'elle se donne a lire au sein de la texture scripturale
In her study of a few works by contemporary american novelists (ellison, bellow, malamud, barthelme, delillo and auster), the author does not try to focus on the new york "setting" of the plot, but tries to uncover the metamorphic, creative nature of the city as is appears 39in the very writing of the text

Over the past decade, child soldiers have inundated the media. Images of boys armed with AK-47s appear ever-present, providing a cautionary story of innocent childhood gone awry (Rosen, 2005). As these representations turn commonly held assumptions of a protected and innocent childhood on its head, what they conceal is as challenging as what they reveal. These media images tell us little about the children behind the guns or the complexity of their wartime and post-war experiences. I was concerned with girl soldiers in Sierra Leone as an unexplored group of ‘war affected’ citizens. I quickly discovered that this was a growing and global phenomenon, one that few analysts and policy makers were aware of. Little was understood of the issue of girl soldiers, not only where, why, and how the practice of using girls in war came about, but also what it means for girls and, most importantly, what to do about it. in the aftermath of conflict, there is often the expectation that people’s lives will improve. Girl soldiers’ post-conflict reality in Sierra Leone was somewhat different. In a rapid time span countless girls unlike boys’ were confronted with the reality of establishing new identities that depended not on the rebel forces, but on factors such as access to family and community support — factors that were lacking for girl soldiers at war’s end.

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Secretaría Nacional de Educación Superior, Ciencia y Tecnología
Os quintais estão presentes na sociedade humana desde a sua origem e estão distribuídos mundialmente. Estes espaços de terra estão localizados perto das casas, e o trabalho feminino neles é fundamental. Uma característica principal deles é que mantêm altos índices de agrobiodiversidade, fornecendo constante e ampla variedade de produtos, como alimentos, remédios, madeira ou forragem, principalmente para o autoconsumo das famílias e também para a geração de renda adicional. Além disso, a diversidade dos quintais contribui para a conservação de espécies ameaçadas e variedades tradicionais, preservando práticas agrícolas tradicionais, confirmando sua importância sócio-ecológica. Apesar de serem de grande importância, os quintais nem sempre recebem a devida atenção e, para serem valorizados, é necessário entender sua contribuição para os agricultores familiares e para o meio ambiente. Esta pesquisa teve como objetivo avaliar a importância ambiental, econômica e sócio-cultural de quintais rurais, sendo realizada em duas partes: a primeira consistiu em visitar quatro quintais na Zona da Mata para estimar sua agrobiodiversidade através da identificação das espécies e famílias e, consequentemente, calcular os índices de biodiversidade alfa (Índice de Riqueza) e biodiversidade beta (índice de Whittaker, coeficiente de Jaccard (CJ) e coeficiente de Sorensen (CS)). Finalmente, foi realizado escaneamento de uma das propriedades com equipamento laser scanner terrestre, que permitiu medir (média de três leituras) as alturas de árvores e arbustos selecionados ao acaso e, assim, observar a distribuição e a estrutura vertical do quintal. A segunda parte consistiu na análise de dados secundários contendo os valores da produção gerada em 30 propriedades na Zona da Mata de Minas Gerais, utilizando a metodologia denominada "Caderneta Agroecológica", na qual as mulheres compilam os dados da produção dos quintais, seu destino (autoconsumo, venda, doação e troca) e sua transformação em valores monetários, de acordo com os preços nos mercados locais de cada produto. Os resultados demonstraram que os quintais visitados variaram em tamanho, de 1990 metros quadrados para 8830 metros quadrados, com uma idade entre cinco e 20 anos. Através do trabalho participativo foi conhecido que os quintais são espaços onde as decisões são tomadas e as atividades são lideradas pelas mulheres, mas com a cooperação dos outros membros das famílias. Em nenhum dos quintais foram utilizados agrotóxicos ou fertilizantes químicos, limitando o uso de calcário como um corretivo do pH do solo em apenas uma propriedade. O solo foi adubado com esterco animal, resíduos de colheitas e resíduos orgânicos caseiros, e o controle de ervas foi feito com capina e roçado, contribuindo com a cobertura do solo. Encontraram-se 246 espécies de plantas distribuídas em 81 famílias, e seis espécies animais distribuídos em igual número de famílias. A maioria das espécies de plantas é utilizada como alimento (147 espécies), seguido de remédio (69), espécies ornamentais (56), forragem (quatro espécies) e outros usos (13 espécies). As espécies animais são utilizadas como alimento (quatro espécies) e companhia (duas espécies). A biodiversidade alfa mostrou uma elevada diversidade em cada quintal; no entanto, biodiversidade beta indicou que não há semelhança entre as quatro propriedades. O laser scanner permitiu calcular a altura das plantas selecionadas, observando coeficiente de variação máximo nas leituras de 6,24% que a maioria dos indivíduos mais altos está no pomar, e os indivíduos de médio e baixo porte estão localizados ao redor da casa. Finalmente, a Caderneta Agroecológica permitiu registrar a produção dos quintais e seu destino, assim como seu valor monetário estimado. A produção dos quintais foi diversificada (com 140 produtos registrados pelas mulheres), permanente ao longo dos 12 meses do ano, mas variável em cada mês. Monetariamente, representou uma porcentagem média equivalente a 29% do salário mínimo no Brasil.
Home gardens exist throughout the world and have been present since the beginning of human society. They are located near houses and are fundamentally dependent on female labor. One of their main characteristics is that they maintain high rates of agro-biodiversity and provide a constant and wide variety of products for the consumption of the families and for the generation of additional income: these products include food, medicine, wood, and forage. From a socio- ecological perspective the diversity of home gardens contributes to the conservation of endangered species, traditional varieties, and traditional farming practices. Despite being of great importance, these home gardens or yards do not always receive proper attention; and in order to value them accurately, it will be necessary to understand the contribution they make both to family farmers and to the environment. The aim of this study, divided into two parts, was to understand the environmental, economic, and socio-cultural importance of rural home gardens. The first part consisted in the analysis of secondary information containing production values generated on 30 farms located in the Zona da Mata of Minas Gerais. The methodology used is called “Agro-ecological Booklet,” in which women collect the production data from the yards, their destination (consumption, sale, donation, and exchange) and their conversion into monetary values based on the prices of the local markets for each product. The second part consisted in actually visiting four home gardens in the Zona da Mata to estimate their agro- biodiversity through the identification and the uses of the species and families; and consequently to calculate the indexes of alfa-biodiversity (Index of Richness) and beta- biodiversity (Whittaker Index, Coefficient of Jaccard (CJ) and Coefficient of Sorensen (CS)). Finally, a scanning of one of the properties was performed using terrestrial laser scanner equipment that measured (average of three measurements) the height of random trees and shrubs in order to observe both the distribution and the vertical structure of the home garden. The results showed that the Agro-ecological Booklet methodology was able to record the production of the home gardens and their location, as well as an estimate of their monetary value. The production of home gardens was diverse (140 products were recorded by the women), permanent throughout the year but variable every month. Monetarily, they represented an average percentage equivalent to 29% of the minimum wage in Brazil. The visited home gardens varied in area from 1,990 square meters to 8,830 square meters, with an age range between five and twenty years. With the participatory work it was known that the home gardens are spaces where the activities and decisions are led and made by women, albeit with the co- operation of the other members of the family. Neither pesticides nor chemical fertilizers were used in any of the home gardens, thus limiting the use of agricultural lime as a soil amendment to just one single property. The soil was fertilized with animal manure, crop residues, and organic garbage from the houses; and the control of spontaneous weeds was done by mowing and weeding, contributing with the coverage of the soil. It was found that 246 plant species were distributed in 81 families, and six animal species were distributed in an equal number of families. Most plant species are used for food (147 species), followed by medicinal (69 species), ornamental (56 species), fodder (four species), and others (13 species). The animal species are used for food (four species) and companionship (two species). Alfa-biodiversity showed a high diversity in each home garden; however, beta-biodiversity indicated that there is no similarity between the four properties. Finally, the laser scanner allowed calculating the height of the selected plants, obtaining a maximum coefficient of variation of 6,24%, with the observation that the majority of the highest individuals are in the orchard while the individuals of medium and smaller height are located around the house.

This essay mirrors the structure found in my thesis film—a series of small vignettes—but does not emulate one for the other and vice versa. The essay is an experiment that seeks to allow rather than define and imagines a world already in place rather than built by the accumulation of reading and writing this text; the vignettes serve as a witness to this world rather than symbols building up a system of signs. I’m interested in expanding the conversation around political personhood towards a receptive stance; a politics of receptivity. This doesn’t serve as a counter to any narratives around a politics of action, activism and social justice, especially one that is needed now more than ever with the current political climate. Instead the text pays close attention to the daily, the individual, and the banal, not as an apathetic or reactionary stance, but as one charged with potential. In casting off an overarching relationship to narrative and resolve in the text, which does not deny narrativity found in the moments and individual vignettes, I posit a self of inconclusive gestures, pregnant moments and the feeling of something meaningful happening in a world of interviews, speculative text messages, portraits of binge watching tv, video essays, and case studies. The potential pitfalls and failures of a piece of this nature is to read each vignette as a simple projection of a stable self, that a stable I is seeing himself in all that is around. And while this writing encourages one to hold up a mirror and see oneself in a vignette it is also a piece that explores these affective limitations and symbolic acts of violence. There is the critique that non-narrative potential filled space creates a problematically uncomplicated relationship to the subject matter and viewer. This is a notion further developed in Maggie Nelson’s book, The Art of Cruelty that thinks through arts capability to enact change through often violent or problematic means. In discussing the work of artist Alfredo Jaar in which he rebukes Newsweek’s headlines with his own headlines about the Rwandan genocide, she writes, “since the artist has predetermined what it is, exactly, that we should have been looking at… what is the use of our looking at all?” (Nelson 26). By avoiding the possibility of critique or question to the piece by supplying the question and answer, Jaar’s work, she argues, becomes problematically tame. The receptive stance taken aims to keeps questions at the forefront rather than answer them. It is a writing that tries to keep the question, “What is left? What is still there after?” churning, full of potential and charged. It’s a piece that presumes a self always in the wake of, as Bergson writes with beautiful images of cones in his book Matter and Memory. It is a piece that also assumes a self that is always becoming, as Spinoza suggests with his famous line, “No one has determined what the body can do”. (Spinoza 87). Despite the contradiction of a self pulled to and from, past and future, this piece presumes that selfhood is formed on the basis of both simultaneously. Similar to how CA Conrad articulates his rituals creating space for himself, the text permits associations and cross readings in order to find some kind of residue to reside in. While this residual space from the accretion of texts rubbing up against each other is one in which I’m identifying a receptive selfhood, this space is one that also radically permits another. Kathleen Stewart articulates a similar position in her fantastic ethnographic study of coal mining communities in West Virginia, A Space on the Side of the Road. In it she writes, “In the effort to track something of the texture, density, and force of a local cultural real through its mediating forms and their social uses, it tears itself between evocation and representation, mimesis and interpretation.” It here could be both the text and an understanding of selfhood. This polemic of constructing a self through an affective refuge of experiences is one that is not a transaction. The vignettes, unless themselves an exchange, are complete onto themselves. They are curated and designed, but through their excess, unresolved nature and individuality they stand alone, while their impact secretes. I cannot say how the wake of the piece will be felt or what action comes from political passivity. But, as the Vipassana teacher Michele McDonald teaches, I know that in order to act first one has to understand where we are acting from. In this way the piece performs a similar purpose to Raymond William’s, Structures of Feelings that maps out affective terrains. This piece attempts to map, but never seeks to pin point or locate. There is no single source to find for one’s internal landscape, but there might be a way to witness where and how impact occurs in the radically passive personhood, the same way focusing on the breath allows one to witness when and how awareness shifts to thought, sensation or emotion; it’s about a continuous how, rarely about fixing a why. In lieu of the film one can think of the text as a bin system for video editing software. The folder in which this text is archived would be titled, potential. The text moves similarly to scrubbing through material. Then there is | |. I’m hesitant to pin down and strictly label the significance of | | but maybe thinking of it as a direction; | | is a whispered, “now,” or a pinched now, or a hand on the back with a warm now, but most importantly it is a continued now that respects critical/emotional distance. This sign is riddled throughout the text- in some moments performing an experience of time, time passing, or time severed, or performing the self addressing self through the correction of speech and grammar. At times it reveals an emotional temporal sense where the subjective experience extends or shrinks the actual.

Background: Branding in the B2B sector can be conducted in a phenomenon called ingredient branding. Ingredient branding is an alliance between two brands where the ingredient brand is applied on a host brand and works as an ingredient on the product. An ingredient brand works as a guarantor for the host brand. Ingredient brand will be used to enhance and build associations to a host brand. Purpose: The purpose of the thesis is to investigate how consumer’s attitudes are affected by ingredient branding on products in the segment of low price host brands. Research Questions: How does an ingredient brand affect consumer’s attitudes on a low price host brand in a positive or a negative way? How does an ingredient brand affect consumer’s attitudes on high or low involvement products? Method: The thesis was conducted as a qualitative research with an abductive approach and focus groups as data collection method. Conclusion: Ingredient branding can change consumer’s attitudes both in a positive and negative way on products in the segment of low price brands. This research shows that when an ingredient brand is added the consumer are expecting that the price and quality increase on the end product.  An ingredient brand has low effect on consumer’s attitudes on high involvement products and high effect on low involvement products.

Abstract

Problem: Branded products can be seen everywhere around us at all time, and is a way of communication for the buyer of the product But, what if one cannot build a brand based on visibility, an example is underwear, then how is it possible to create a brand and add value to it? Is it actually feasible to create a strong brand when not leveraging upon visibility? The organization Stargate Brand Group and its brand Frank Dandy Superwear have been used in order to obtain a deeper understanding around the topic.

Purpose: The purpose of this thesis is to research how to create brand value for an invisible brand within the fashion industry.

Method: To help fulfill the purpose a qualitative approach has been used. Personal interview with the CEO of Stargate Brand Group, telephone interviews with 20 fashion retailers combined with focus groups consisting of potential underwear buyers. The authors believe this approach helped to understand customer behaviour, branding techniques and how to create a brand value from an invisible branded product.

Result: The most important elements in order to create brand value for an invisible brand are quality and perceived quality. To become a successful underwear brand, since that is the invisible brand that the authors choose to focus upon, quality must be highly emphasized, and offering a high quality product is one way of creating brand value to customers.

The overall understanding of invisible products and brands is that they are bought primarily to fulfill the customer’s need of feeling comfortable and leverage upon people’s desire of well-being. An invisible brand cannot leverage upon its user to the same extent as other products, since it is not shown to the public.

This thesis explores the job of nursery nurses working in English Primary and Infant Schools in terms of their tasks and perceptions of their jobs. Educational management theory presently overlooks the increasingly important role of support staff, and in particular nursery nurses, who receive a professional training. The literature review reveals that there is no coherent body of research on nursery nurses and shows that their job as support or complementary staff is patchily under researched. The literature reviewed also deals with the problematic question of how can school effectiveness be maximised if the contribution of members of staff, such as nursery nurses, is not fully recognised. This is a descriptive study and it analyses data from covert participant observation; questionnaires; group interviews and telephone interviews, obtained from the majority of nursery nurses working in one County. The purpose of the research was to establish the extent of the nursery nurses' jobs and to find out their opinions on their current position in schools, working with three-five year olds. The findings portray nursery nurses as often invisible within the school culture, and their increasingly unrecognised workload. Nursery nurses perceive that various groups within the school and outside it are not aware of the extent of their role, nor do they ascribe appropriate value to it. It is argued that the way forward is for the school sector and others in Early Years education to recognise and reward professionals other than Early Years teachers. A case for increased research, focused on nursery nurses as complementary colleagues, is made. Given the current political and educational emphases on Early Years, this group of professionals is in danger of being a wasted, unrecognised and invisible resource.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
O presente trabalho tem por finalidade observar as relações existentes entre psicologia e neurociência. A partir da Teoria Ator-Rede (TAR), especificamente, o trabalho de Bruno Latour, observa-se as redes sociotécnicas que formam o campo da neurociência. Munido de alguns conceitos fundamentais tais como fe(i)tiche, caixa-preta e rede sociotécnica, aponta-se os agenciamentos feitos a partir da rede formada, tendo os trabalhos científicos sobre o cérebro como ponto de entrada. Atribui-se um valor específico ao cérebro, que produz um agenciamento em uma série de actantes. Essa rede de actantes constituiria o campo neurocientífico, no qual a psicologia passa a se articular de determinada maneira. Essas articulações produzem interesses a determinadas práticas psi, que se apresentam dispostas a lidar com uma naturalização do pensamento. Ao mesmo tempo, observa-se que, desde suas elaborações, tais práticas psi possuem uma pretensão cientificista, o que encontra grande consonância nos trabalhos neurocientíficos.
The present study seeks to evaluate the relationship between psychology and neuroscience. Therefore, taking the Actor-Network Theory (ANT) and Bruno Latour s work, specifically, it can be noticed the socio-technical networks that trace the field of neuroscience. Armed with some basic concepts such as factishes, black box and sociotechnical network, pointing up the assemblages made from the network formed, and scientific work on the brain as the entry point. It has assigned a specific value to the brain that produces an assemblage of a series of actants. This network of actants constitute the field of neuroscience, in which psychology articulates in a certain way. When psychology articulates with neurosciences, there are some interests to certain psi practices, disposed with a naturalization of thought. At the same time, we observe that, since its elaborations, such practices have a scientific claim, which is great harmony in the work neuroscience.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O presente estudo tem como objetivo analisar o impacto da leucemia infantil na subjetividade das crianças. Assim, busca descrever os aspectos particulares desta experiência que inclui tratamentos agressivos, uma série de restrições, procedimentos médicos invasivos e dolorosos, além do risco de morte. A pesquisa pretende então investigar como estes aspectos incidem sobre a criança, ainda em fase de desenvolvimento, considerando que tais vivências apresentam um potencial traumático pelo desafio imposto pela doença e hospitalização. O trabalho é norteado pela teoria psicanalítica e apresenta o conceito de trauma principalmente em Sigmund Freud, Donald Winnicott e Sándor Ferenczi. Para escutar sobre as experiências das crianças internadas em tratamento para leucemia, foram realizadas entrevistas semiabertas no Hemorio (Instituto Estadual de Hematologia Arthur de Siqueira Cavalcanti). Uma análise qualitativa das narrativas evidencia os aspectos próprios do trauma, como o excesso, o desamparo, as invasões, o desmentido e a ameaça de morte. Assim, diante do impacto, resta a necessidade de elaboração: através do narrar e do brincar.
The present study aims to analyze the impact of infant leukemia on children s subjectivity. Thus, it attempts to describe the particular aspects of this experience that includes an aggressive treatment, a series of restrictions, invasive and painful medical procedures, and the risk of death. The research aims to investigate how these aspects relate to the child still in the development period, considering these experiences as presenting a traumatic potential for the challenge imposed by the disease and hospitalization. This work is guided by the psychoanalytic theory and introduces the concept of trauma by Sigmund Freud, Donald Winnicott and Sándor Ferenczi. To listen about the experiences of children in treatment for leukemia, semi open interviews were conducted in Hemorio (State Institute of Hematology Arthur de Siqueira Cavalcanti). A qualitative analysis of the narratives highlights the specific aspects of trauma, such as the excess, the helplessness, the invasions, the denial and the threat of death. Thus, from the impact remains the need to elaborate: through narrating and playing.

This thesis reads John Ashbery as a major poetic thinker about nature whose work convenes a multitude of nature writing traditions, from classical pastoral to the 21st-century eco-sublime. Challenging a critical consensus that would cast Ashbery as either a belated romantic in search of lost nature or an arch-postmodernist who dissolves "nature" into text, this study reveals his deep historical awareness of the transmission and collision of literary ecologies. The poet who emerges delights in putting different poetic natures into contact with each other—and in humorously making nature unnatural. Surveying Ashbery’s long historical moment, the thesis uses four terms of critique—transparency, vagrancy, flow, and badness—to map his "invisible terrain." Chapter one historicizes Ashbery’s turn to a poetics of contradictory "transparencies" during his sojourns in France from 1956-1965 and his concurrent dream of writing poems that would be like "natural landscapes" in a world of "painted ones." Chapter two considers the pastoral and anti-pastoral topoi of Ashbery’s Vietnam-era poetry and his tendency to "wander away" from political commitment. Chapter three examines Ashbery’s recurrent tropes of "flow" and his tendency to literalize the stream-of-consciousness metaphor and "dissolve" his own style at decisive moments of his career. Chapter four reads the "bad" nature poetry of Ashbery’s late period (1987 to the present) as the culmination of a career-long investment in camp irony’s "good taste of bad taste" and as a response to ecological crisis. The coda, a survey of Ashbery’s critical prose, examines his penchant for “a completely new kind of realism."