Dissertations / Theses on the topic 'Minimalism'
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Davies, James. "stack : minimalist poetics." Thesis, University of Roehampton, 2018. https://pure.roehampton.ac.uk/portal/en/studentthesis/stack(aebfad17-9098-4c69-831d-3af98f9d48e4).html.
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stack: Minimalist Poetics consists of a portfolio of practice-led research — a volume-length minimalist poem entitled stack — and a critical essay. The poem applies and adapts several minimalist writing strategies, which are evaluated in the critical essay to create a text that is rich in imagery yet indeterminate in meaning. In addition, stack is innovative in its structural approach — through original use of enjambment, footnoting and repetition, lines may be treated as discrete entities and, also, as combinations. A key research question that the practice-led component and the critical essay interrogate is the applicability and development of the poetics of the “New Sentence”, and other formally innovative approaches in the field of minimalist writing. The first part of the critical essay contextualises the creative portfolio in relation to the field of minimalist poetics as a whole. It sets out how stack belongs to a strand of minimalist poetry that evolved out of imagism and objectivism, and whose key practitioners include Robert Grenier, Robert Lax and Aram Saroyan. Subsequently, the thesis outlines the methods that were used to generate the creative portfolio. Effectively these latter sections present a manual for making minimalist poetry. Aside from exploring the written elements of stack, the thesis also examines my practice of conducting what I refer to as ‘minimalist interventions’ (embodied, micro-actions). These interventions, which have taken place in a range of environments, generally function as stimuli for the written aspects of the poem.
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Gould, Jason. "Minimalism and maximalism /." Online version of thesis, 2007. http://hdl.handle.net/1850/4626.
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Hedlin, Hayden Malin. "Out of Minimalism." Doctoral thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-3589.
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The dissertation involves a threefold investigation of sculpture. Firstly, the interpretations are focused on particular artworks by three British sculptors: Antony Gormley (b. 1950), Anish Kapoor (b. 1954), and Rachel Whiteread (b. 1963), respectively. The notion of applied minimalism is tentatively applied to their sculptures. A primary argument is that these works are idiomatically, thematically, and theoretically founded on the heritage of American Minimalism from the 1960s. The sculptures by these three artists are seen as readings and transformations in themselves of the Minimalist sculptural idiom. Secondly, the dissertation aims at an investigation of the notion of sculpture, which is explored as a discursive term, i.e. as a working notion. Therefore, each specific sculpture in the study is analysed in terms of the means it is manifested as such. Thirdly, interpretation per se is recognised as a performative act inscribed and restricted by specific contextual features. The constituent aspects are acknowledged and employed in terms of the white cube gallery locality, minimalist theory, sign theory, sculpture as staged, and the crucial recognition of a/the corporeal viewer's own presence and movements within the gallery space. Especially pertinent to the interpretations are Michael Fried's notion of theatricality, notions of performativity, and meaning as site-specific, respectively. The dissertation argues that the notion of sculpture, specifically in the wake of Minimal sculpture and the artworks inscribed by that category in art critical discourse, relies on the imperative of a corporeal acknowledged viewer/interpreter and that significant relations as regards the notion of sculpture are therefore external to a high degree.
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Botha, Marc Johann. "The persistence of minimalism." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/4455/.
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The following work develops a new and general theory of minimalism – one addressing both its transhistorical and interdisciplinary dimensions, and capable of accounting for existing minimalism of every epoch and in every medium, while suitably open to embrace minimalist work yet to be created. To offer such a theory it is necessary not only to revisit the histories of minimalist practice and criticism, but also to consider its radical philosophical ground and implications. Hence its principal thesis – that minimalism exemplifies the persistence and facticity of the Real – grapples at once with the ontological heart of minimalist theory, and its practical instantiation through canonical as well as rarely considered examples. Divided into three parts, the first part addresses minimalism as the manifestation of particular aesthetic properties in relation to critical and theoretical trends. Since it becomes apparent that no single descriptive or theoretical account adequately frames minimalism, the discussion turns to the possibility of discovering a philosophical ground equally radical to the minimalist objects it addresses. The Real – an indifferent field of forces from which contingent entities are subtracted from within an irreversible temporal passage – offers precisely this radical continuum. Minimalism, by exposing the continuity between radical poiesis and an essentially quantitative understanding of Being, clarifies the indifferent persistence of the Real in every existential situation. Penetrating to the heart of this proposition, parts two and three respectively address minimalism in terms of its quantitative logic of Being – every exemplary subtraction from which is instantiated a type of existential calculation – and its exemplary aesthetic manifestation in terms of an existential transumption – a constructive poietic displacement by which minimalism renders itself maximally intelligible in terms of its objecthood and persistence. The work concludes with a typology which reorients and confirms the substance of the preceding argumentation.
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Oka, Toshifusa. "Minimalism in syntatic derivation." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/12499.
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Tiefensee, Christine. "Expressivism, minimalism and moral doctrines." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609582.
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Villares, Fernanda Carvalho Ferreira. "A construção do espaço através da luz: uma leitura da obra de Dan Flavin sob o aspecto do design da iluminação." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-11012012-112335/.
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Esta dissertação consiste em uma abordagem do fenômeno da luz que interesse ao Design da Iluminação. Isso se faz aqui através da leitura da obra de Dan Flavin, artista americano que utilizou a lâmpada fluorescente como material quase que exclusivo em seus trabalhos. Flavin conhece e explora a luz como um fenômeno intangível. Recusa noções preconcebidas de espaço, e busca novas experiências perceptuais e espaciais. Assim, sua obra nos permitiria uma leitura múltipla, levantando diversos aspectos importantes para a atividade do designer da Iluminação. Pesquisar Flavin é uma imersão na luz, na cor, no espaço e na percepção humana. A riqueza visual e conceitual de sua obra nos levaram a explorar o conhecimento que se tem sobre a presença da luz no espaço que complementem a prática do Design.This essay proposes an approach to the phenomenon of light that involves Lighting Design. The route to this exploration is the work of Dan Flavin, an American artist who used fluorescent lamp as the practically exclusive material of his work. Flavin knows and explores light as an intangible phenomenon. He refuses preconceived notions of space and seeks new perceptual and spacial experiences. As a result, his work allows multiple readings and raises several key aspects for the activity of the Lighting designer. To research Flavin is to immerse oneself in light, color, space and human perception. The visual and conceptual richness of his work led us to explore the knowledge we have of the presence of light in space, which complements the Design practice.
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Alexander, Karen. "Minimalism in twentieth-century American writing." Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1446326/.
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My PhD thesis identifies a "will to reduction" in twentieth-century American literature as a significant trend that I trace from the Modernist era to the contemporary period. I locate the origins of contemporary literary Minimalism in Modernist experimentation. In an early chapter I identify reductive tendencies and the values informing them in Imagism, Objectivism, and the writings of Ernest Hemingway and William Carlos Williams. These form the foundation for a tradition of American Minimalism, which I then document in contemporary literature. Robert Creeley is an inheritor of the Objectivists' Minimalist leanings, which recur, by emulation or partial disagreement, in the poetry of Aram Saroyan and Robert Grenier. Raymond Carver renews the Hemingway tradition in his short stories, and one chapter of my thesis considers Carver along with Mary Robison, who has also written a Minimalist novel. Radical, sustained experiments in Minimalism by Robert Lax, Lydia Davis, and David Markson are the subject of subsequent chapters. Their work represents recent versions of Minimalism in poetry, the short story, and the novel. Recurring themes in my thesis are the ways in which some of these authors have been influenced by visual art, and philosophical issues raised by literary experiments in Minimalism.
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Hou, Richard Wei Tzu. "Between Quine's Disquotationalism and Horwich's Minimalism." University of Sydney, 2006. http://hdl.handle.net/2123/1131.
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Doctor of PhilosophyMany criticisms of the prevalent deflationary theories of truth stem from some misunderstanding. Clarification can be found from considering Quine's reasoning on the disquotational feature of the truth predicate. Quine's disquotationalism and Horwich's minimalism are similar theses with respect to the concept of truth, though the difference between the choices of the primary truth bearers and the divergence in their accounts of meaning and reference are striking. Chapter Two is devoted to making plain Quine's reasoning regarding the disquotational concept of truth, and to constructing a disquotational theory of truth. Also in this chapter, the topic of how to enhance the deductive power of this theory is discussed. The following chapter aims to square Quine's theses of inscrutability of reference and ontological relativity, with an account of the disquotational schema of reference. Whether or not a disquotational schema of reference and all its instances can be seen as providing a genuine reference scheme, as claimed by Horwich and most deflationists, is also discussed. In Chapter Four, after an introduction of Horwich's minimalist conception of truth, there are a number of issues considered, in particular Horwich’s use-theoretic account of meaning and compositionality, along with the divergence between his account of meaning and Quine's. The final chapter, Chapter Five, provides a thorough analysis of three important factors regarding the disquotational theory and the minimal theory of truth. Among them, the first factor discussed is what sort of equivalence relation occurs within each instance of the disquotational schema or each axiom of the equivalence schema. Following this, there is an analysis of in what way the disquotationalist and the minimalist can explain all general facts involving truth. The last factor involves considering the proper ascription of the disquotational or the minimal truth predicate. Along with the analysis of these three factors, the issue regarding which theory of truth is preferable is elaborated.
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Skipp, Benjamin. "Minimalism 1960-2001 : definitions, developments, reception." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543589.
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Bäck, Mikaela, and Jesper Johansson. "Minimalism kontra hyperrealism i skräckmedias ljuddesign." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-20523.
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Två olika ljudläggningar, en hyperrealistisk och en minimalistisk, skapades till ett videoklipp av en spindel i ett datorspel för att undersöka och jämföra upplevelsen av dessa olika ljuddesignskoncept i relation till varandra. Frågan som besvarats lyder;“Hur upplevs minimalistisk kontra hyperrealistisk ljuddesign i kontext av skräckmedia?”. Arbetet har inspirerats av spindlars verkliga läten samt filmer och datorspel som innehåller jättelika spindlar eller insekter, vilket har kombineras med författarnas uppfattning och definitioner av minimalistisk och hyperrealistisk ljuddesign. Ljud har spelats in och signalbehandlats för att ljudlägga videoklippen. Denna artefakt testades med hjälp av åtta deltagare som fick se de två olika versionerna av videoklippen och sedan svara på relaterade frågor i en enkät. Den hyperrealistiska ljudläggningen var den föredragna av majoriteten av deltagare på grund av att den upplevdes mer obehaglig och för att den minimalistiska ljudläggningen uppfattades som ofullständig. Dock föredrog vissa deltagare den minimalistiska ljudläggningen då ljuden upplevdes tydligare och därmed mer obehagliga.Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.
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Hou, Richard Wei Tzu. "Between Quine's Disquotationalism and Horwich's Minimalism." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1131.
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Many criticisms of the prevalent deflationary theories of truth stem from some misunderstanding. Clarification can be found from considering Quine's reasoning on the disquotational feature of the truth predicate. Quine's disquotationalism and Horwich's minimalism are similar theses with respect to the concept of truth, though the difference between the choices of the primary truth bearers and the divergence in their accounts of meaning and reference are striking. Chapter Two is devoted to making plain Quine's reasoning regarding the disquotational concept of truth, and to constructing a disquotational theory of truth. Also in this chapter, the topic of how to enhance the deductive power of this theory is discussed. The following chapter aims to square Quine's theses of inscrutability of reference and ontological relativity, with an account of the disquotational schema of reference. Whether or not a disquotational schema of reference and all its instances can be seen as providing a genuine reference scheme, as claimed by Horwich and most deflationists, is also discussed. In Chapter Four, after an introduction of Horwich's minimalist conception of truth, there are a number of issues considered, in particular Horwich’s use-theoretic account of meaning and compositionality, along with the divergence between his account of meaning and Quine's. The final chapter, Chapter Five, provides a thorough analysis of three important factors regarding the disquotational theory and the minimal theory of truth. Among them, the first factor discussed is what sort of equivalence relation occurs within each instance of the disquotational schema or each axiom of the equivalence schema. Following this, there is an analysis of in what way the disquotationalist and the minimalist can explain all general facts involving truth. The last factor involves considering the proper ascription of the disquotational or the minimal truth predicate. Along with the analysis of these three factors, the issue regarding which theory of truth is preferable is elaborated.
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Cappetto, Michelle A. "The Impact of Minimalism on Health and Relational Satisfaction: Understanding Minimalism Through a Medical Family Therapy Lens." University of Akron / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=akron1595892106896602.
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Umemori, Yoshiko. "Quantifier Interaction in GB and Minimalism (Ⅱ)." 名古屋大学言語文化部言語文化研究会, 2001. http://hdl.handle.net/2237/7956.
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Wallace, Miranda Jane. "Photography and film after minimalism, 1967-1976." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404730.
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Berger, Maurice. "Labyrinths : Robert Morris, minimalism, and the 1960s /." New York : Harper & Row, 1989. http://catalogue.bnf.fr/ark:/12148/cb355598308.
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Merçon, Francisco Elias Simão. "Samuel Beckett: do figurativo ao figural." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-09112012-115933/.
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Companhia, publicada originalmente em inglês no ano de 1980, é uma narrativa construída na fronteira entre imaginação e enunciação por um sujeito solitário que, deitado de costas no escuro, fabula continuadamente em busca de companhia. Ela se inclui entre as narrativas de Samuel Beckett cuja trama se passa no espaço mental de seus protagonistas, na região comumente chamada de manicômio do crânio. Conhecida por características que a mantêm distante dos esquemas teóricos universais, apresenta uma abundância de programas narrativos que se anulam uns aos outros, resultando num forte clima de incerteza implicado na situação desse homem deitado de costas no escuro, protagonista da história. Contribuem para esse efeito, também, o emprego de anáforas, que não remetem a nenhuma referência segura; a hipóstase dos papéis actanciais, em que actantes se fazem passar por atores; a estruturação dos parágrafos, distribuídos sem relação lógica explícita que os articule uns aos outros; a articulação de determinados eixos semânticos (como luminosidade, solidão, subjetividade, silêncio, entre outros) sob ótica de uma sublógica da língua, que estabelece o primado das relações complexas sobre as articulações da significação pautadas em dicotomias. Com base na teoria semiótica francesa, a presente pesquisa procura demonstrar que esses elementos, que em Companhia promovem o efeito de incerteza, são decorrentes de operações sintáxicas meticulosamente organizadas pelo enunciador beckettiano. Constituem, portanto, procedimentos discursivos que, apesar do forte clima de incerteza vi mencionado, podem ser descritos por meio de análise, especialmente na articulação de sua dimensão figurativa com a dimensão profunda, a figuralidade. Ao longo da análise (desenvolvida na Segunda Parte da tese), procuramos acompanhar o contraponto das diferentes vozes entrelaçadas na trama, sem deixar de considerar os conteúdos dos episódios narrados pela voz na segunda pessoa gramatical. Desse modo, o conflito das vozes responsáveis por estabelecer o ritmo e a tensividade na narrativa está diretamente relacionado com o conteúdo desses episódios, formulados pela voz na segunda pessoa, na forma de fragmentos biográficos desarticulados uns dos outros. Por fim, ao investigar algumas questões de ordem fenomenológica envolvendo o protagonista de Companhia, apresentamos uma possível perspectiva do enfoque figural em outras obras representativas do discurso literário do século XX.Originally published in English in 1980, Company is a narrative built on the border between imagination and enunciation by a loner who, lying on his back in the dark, continuously fables in search of companionship. It is among the narratives by Samuel Beckett whose plot takes place in its protagonists mental space, in the region commonly referred to as the madhouse of the skull. Known for features that keep it distant from universal theoretical frameworks, it presents an abundance of narrative programs which nullify one other, resulting in a strong atmosphere of uncertainty involved in the situation of the man lying on his back in the dark, who is the protagonist of the story. Also contributing to this effect, there is the use of anaphoras, which do not refer to any secure reference; the hypostasis of actancial roles, in which actants pose as actors; paragraph structure, distributed without explicit logical connection that articulates one in relation to the other; the articulation of certain semantic axis (such as luminosity, loneliness, subjectivity, silence, among others) under the light of a language sublogics, which establishes the primacy of complex relationships in opposite to the articulations of signification based on dichotomies. Based on the French semiotics theory, this research seeks to demonstrate that those elements, which in Company promote the effect of uncertainty, result from syntactic operations meticulously organized by the Beckettian enunciator. They, therefore, constitute discursive procedures which, despite the strong atmosphere of uncertainty mentioned, can viii be described by means of analysis, especially in the articulation of their figurative dimension with the in-depth dimension, that is, figurality. Throughout the analysis (developed in Part II of the thesis), the attempt was to follow the counterpoint of different voices intertwined in the plot, while considering the content of the episodes narrated by the voice in the second grammatical person. Thus, the conflict of the voices responsible for setting the narratives pace and tensiveness is directly related to the content of these episodes, formulated by the voice in the second person, in the form of disjointed biographical fragments. Finally, in order to investigate some phenomenological issues involving the protagonist of Company, a possible perspective of the figural focus on other works representative of the literary discourse of the 20th century is introduced.
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Diaconoff, Cara. "The Commercialization of the Colloquial Voice ; Raymond Carver and the Minimalist Aesthetic." Oberlin College Honors Theses / OhioLINK, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1397225166.
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Bullon, Quintana Oswaldo Fabrizio. "Cómo ayuda el uso de la síntesis gráfica para poder crear logotipos durante el proceso de una construcción de marca." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653090.
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La transformación digital, el cambio de la memoria cultural e individual y el cambio de lo social a lo individual han impactado en la forma de comunicación de las organizaciones. Estos factores han impulsado a que las empresas de distintos mercados opten por renovar su imagen. La proyección de su imagen es fundamental porque está vinculada con la posición de la empresa dentro del mercado en el que se desarrolla. Es ahí cuando surge la idea de sintetizar sus logotipos; de modo que no se pierde la información que quieren transmitirle a sus clientes. Por tal motivo, en el presente trabajo se busca analizar la aplicación de la síntesis o minimalismo gráfico en logotipos como herramienta de construcción de marca en personas de 25 a 35 años de Lima Metropolitana. Se realizará una metodología cualitativa enfocado en el proceso empleado para el desarrollo del nuevo logotipo de Bembos.The digital transformation, the change of cultural and individual memory and the change from the social to the individual have impacted on the way organizations communicate. These factors have prompted companies in different markets to choose to renew their image. That's when the idea of synthesizing their logos arises; so that the information they want to transmit to their customers is not lost. For this reason, this paper seeks to analyze the application of graphic synthesis or minimalism in logos as a brand building tool in people aged 25 to 35 in Metropolitan Lima. A qualitative methodology focused on the process used for the development of the new Bembos logo was carried out.
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Mobbs, Iain Jerome. "Minimalism and the design of the language faculty." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709016.
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Tallant, Jonathan C. "Temporal minimalism : the metaphysics of time and temporality." Thesis, Durham University, 2005. http://etheses.dur.ac.uk/1276/.
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Calderon, Eber. "Artistic Vision and Technical Minimalism. Opportunity or Paradox?" Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-103114.
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The aim of this study was research how avoiding the use of modern music production tools like virtual instruments, samples, loops and amp emulations would affect my work as a songwriter and music producer in terms of creativity, artistic expression, efficiency and overall sound quality of the production. The project consisted of writing, producing and mixing four songs in different genres, using only a single, a Shure SM7b dynamic microphone and an Audient ID4 audio interface to record all of my sources. In the following step I compared the songs I created for this project to other songs I have created using unlimited tool and looked for differences and similarities. The results obtained were for the most part positive. As an effect of minimizing the number of choices available in the creative process I was able to write and produce songs faster, while exploring my limitations as a musician, songwriter and producer.
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Gullbo, Lucas, and Elias Albrecht. "Minimalism i Spel, en djupare förståelse för begränsningar." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-18254.
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Spel som Journey (Thatgamecompany, 2012) och ICO (Team Ico, 2001) har betonats som minimalistiska spel och har lyckats skapa en känsla av minimalism. Samtidigt motsäger dem vad Towards Minimalist Game Design (Nealen & Saltsman & Boxerman, 2011) anser är minimalism inom speldesign och kan därför inte tolkas som minimalistiskt. Eftersom detta tankesätt upplevs strikt söker vi att skapa ett mer öppet designtänkande för minimalism inom speldesign. Denna undersökning handlar om att kolla på minimalism som begrepp och utforska olika perspektiv av minimalism. Detta görs med målet att leda till nya tillämpningar inom speldesign, utan att sikta på total minimalism. Genom att titta på minimalismens områden inom: konst, design och livsstil; kan en bättre förståelse för minimalism och begränsningar uppnås. Begränsningar är ett gemensamt tema inom minimalismen och har upplysts inom de valda områdena. Under digitaliseringen fick minimalismen ett nytt tankesätt då den anpassades till att reducera komplexitet till slutanvändade istället för hur det brukade vara: att reducera överdriven komplexitet. Genom brainstorming och MDA ramverket har en spelidé skapats. Denna spelidé har utvecklats till ett spel genom användandet av minimalistiska begränsningar på både design och arbetsmetod. Resultatet visar spår av en mix olika versioner av minimalism och lyckas demonstrera hur mångfaldigt begreppet kan appliceras. Med detta motiverar vi vårt nya synsätt på minimalism inom speldesign, där vi delar in det i två större kategorier som vi namnger Total Minimalism och Smart Minimalism.Games like Journey (Thatgamecompany, 2012) and ICO (Team Ico, 2001) have been emphasized as minimalist games and have managed to create a sense of minimalism. At the same time, they contradict what Towards Minimalist Game Design (Nealen & Saltsman & Boxerman, 2011) consider minimalism within game design and therefore cannot be interpreted as minimalist. Since this way of thinking is perceived as strict, we seek to create a more open way of thinking about minimalism in game design. This study is about looking at minimalism as a concept and exploring different perspectives of minimalism. This is done with the goal of leading to new ways of applying minimalism within game design, without aiming for total minimalism. By looking at minimalism within different areas: art, design and lifestyle; a better understanding of minimalism and limitations can be achieved. Limitations are a common theme in minimalism and have been highlighted in our chosen areas of minimalism. During the digitalization, minimalism gained a new way of thinking when it was adapted to: reduce complexity to end users; instead of how it used to be: to reduce excessive complexity. Through brainstorming and the MDA framework, a game idea has been created. This game idea has evolved into a game by using minimalist limitations on both design and work method. The result shows traces from a mix of different versions of minimalism and manages to demonstrate how diversely the concept can be applied. With this we motivate our new approach to minimalism in game design, where we divide it into two larger categories that we name Total Minimalism and Smart Minimalism.
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Heger, Giuliana. "The capsule closet phenomenon : A phenomenological study of lived experiences withcapsule closets." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-10250.
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The idea for this paper resulted out of a curiosity for minimalist lifestyle concepts, namely capsule closets and the missing research about this topic as well as the importance of this concept for the society, the environment and the future of the fashion and textile industry. The study describes a phenomenological study in which the researcher explored participants’ lived experiences with capsule closets in order to provide a better understanding of the capsule closet experience. Fixed-interval diaries and semi-structured in-depth interviews with five women were conducted. Using descriptive phenomenological analysis, the researcher identified seven essential themes representing the lived experiences found in participants’ experience with capsule closets: 1) Feeling excited, enthusiastic and determined; 2) Feeling relived and satisfied; 3) Experiencing struggles and challenges; 4) Feelings of guilt and regret; 5) Feeling limited, bored and less creative; 6) Feelings of accomplishment and proudness; 7) Learning experience. These findings both support and contribute to existing literature related to this topic and provide new insights and add new aspects to the knowledge of the capsule closet experience.
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Engdahl, Anton. "Minimalism och pop : Pop-produktioner inspirerade av Steve Reich." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74324.
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Det här är ett konstnärligt arbete som handlar om att producera popmusik influerad av Steve Reichs minimalistiska verk. Det inleddes med en analys av de musikaliska parametrarna harmonik, rytmik och klangfärg i tre av Reichs verk. Med resultatet från analysen som mall skapades sedan nya produktioner till tre poplåtar. Poplåtarna skrevs av författaren innan starten för detta arbete. Resultaten blev av varierande kvalitet. I vissa fall upplevde författaren att det mest lät som att man lyssnade på två låtar samtidigt. När författaren tog egna initiativ och lät ljudbilderna smälta samman mer upplevde han dock att resultatet blev bättre. I de fallen påstår han att musiken blev någonting mer än bara honom själv + Reich, den blev någonting nytt och helt unikt!
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Karg, Corinna. "New Fashion Minimalism in an Affluent Society : A Paradigm Shift?" Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-368.
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During the last several years, a fast growing interest in minimalist chic has been observed among fashion bloggers around the world. Many of them mention being tired of trends, a shift to inner values and a desire for more simplicity as a moving cause. Buying behaviour that is assumed to be sustainable requires a paradigm shift away from unbridled consumerism towards more mindful consumption. Understanding the current minimalist trend is a key to determining if in fact a paradigm shift is taking place, since that would have direct relevance for future fashion business models. This research aims to research and identify the motivations behind the changed way of dressing. It is discussed whether the new aesthetic is an indicator of an actual cultural shift. Finally, real minimalism is differentiated from the phenomenon of “faux-minimalism”. Specific attention is paid to the question whether a more simplistic wardrobe can lead to emotional liberation and increased happiness. 30 fashion blogs associated with minimalist style were observed to gather data that can give insights into the motivating causes for the phenomenon. To answer further questions, eight bloggers were interviewed. The gathered data from both observations and interviews was analysed and showed that the main reasons for minimalist style are both practical as well as emotional. On one hand, the bloggers cited limited space and finite financial resources. On the other hand, they discussed a desire to live a decelerated, simpler, more “authentic” life that prioritizes “being” rather than “having”.
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Granekull, Elin. "Dekorationsbelysning : ett projekt om belysning i hemmet med skandinavisk minimalism." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-53033.
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Mitt examensarbete handlar om ett sammarbete mellan mig som designer och företaget Globen Lighting. Jag skapade en dekorationsbelysning med skandinavisk minimalism, på vägen dit stötte jag på många val och det är dem jag redovisar här.
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Gamon, Michael. "The derivational formation of chain-links : minimalism and binding theory /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/8416.
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Da, Silva Renato Rodrigues. "The institutional debate a comparative study between neoconcretism and minimalism /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3025212.
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Edelstein, Elspeth Claire. "Syntax of adverb distribution." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7919.
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The distribution of adverbs is particularly difficult to account for, given the amount of variation it encompasses. Not only are adverbs typically optional, but any adverb may also appear in several different positions relative to other constituents, with placement differing according to adverb type and language. As a result, although adverbs are not essential clausal mainstays, the way they are incorporated into the syntax has crucial implications for an overall understanding of clause structure. Some recent accounts of adverb distribution, most notably Cinque (1999), require a highly articulated clausal cartography, where each adverb fits into a specific syntactic position. The placement of adverbs is determined by their semantic properties inasmuch as their specified positions correspond to semantic classes. The ordering of these positions is syntactically predetermined, supposedly with no little or no semantic input. More semantics-based accounts of adverb distribution, as exemplified by Ernst (2002), do not restrict adverbs to specific positions. Rather, any adverb may adjoin to any projection, as long as its individual semantic requirements are satisfied. Such theories of distribution thus depend on adverbs’ semantic interactions with each other and other constituents. The differences between these ‘syntactic’ and ‘semantic’ approaches have led to questions about the nature of verb movement, functional projections, and adjunction. The debate over adverb distribution also raises the issue of what contribution semantics makes to the syntax, and what is syntactically primitive. The aim of this dissertation is to develop an account of adverb distribution that neither requires the introduction of new functional projections, nor attempts to shoehorn an external semantic hierarchy onto a pre-existing syntactic one. It will focus on the position of adverbs in relation to other constituents rather than their order with respect to each other. In this thesis I will review previous theories of adverb distribution, giving special attention to Cinque’s (1999) ‘functional specifier’ approach and Ernst’s (2002) ‘semantic adjunction’ approach, as well as some alternatives, especially the VP-remnant analysis proposed in Nilsen (2003). I will then look at the little-discussed phenomenon of ‘Adverb Climbing’ (AC), in which an adverb precedes a verb that takes an infinitival complement, but is interpreted as modifying the embedded rather than the matrix verb. Taking the varying availability of AC with Control and Raising verbs as a starting point, I will develop a theory of adverb licensing that determines where an adverb may adjoin according to its location in relation to a particular projection. Specifically, I will propose that an adverb must c-command the projection it modifies, and must have access to that projection either in the same phase or at the edge of a lower phase. Based on this analysis I will argue that AC is in fact an indicator of restructuring, and that control and raising verbs take different sizes of infinitival complement. I will also examine the distribution of ‘verb-modifying’ adverbs. Drawing on previous ‘split VP’ proposals (e.g. Ramchand 2008; Travis (2010)), I will contend that the varying distribution of agentive, subject-oriented, and manner adverbs indicates that each is distributed in relation to a different projection within the vP, and that some postverbal adverbs are complements of VP. This proposal will require the introduction of crosslinguistically parameterised restrictions on the order in which adverbs and feature-checking elements may be merged to a single projection. Moreover, I will argue that the array of positions available to agentive adverbs indicates that English has head movement within the vP which bypasses a head, violating Travis’s (1984) Head Movement Constraint (HMC). I will then posit a new analysis of head movement which allows for this violation while still precluding the instances of ungrammaticality that the HMC was meant to rule out. I will finally discuss the distribution of adverbs and negation in the IP range, giving special attention to Pollock’s (1989) classic data from English and French. I will develop an analysis of negation which will allow me to explain the distribution of both sentential adverbs and negation without splitting the IP. Further refinement of the ordering restrictions on multiple merge will also provide an explanation for the ungrammaticality of an adverb between a subject and the highest verb in French, and between do and not in English. This dissertation will serve to situate the study of adverb distributionwithin Chomsky’s (1995) Minimalist framework while providing fresh insight into the extent to which adverb distribution may be used as an indicator of clause structure and movement of other constituents.
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Doyle, James Joseph. "Violetting Through August’s End (Or the Sunset in Water, the Carillon-chime in Square): an Original Chamber Opera and a Critical Essay on the Trajectory of American Minimalist Opera." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699885/.
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When the dust settles, John Adams’s Nixon in China and Philip Glass’s Einstein on the Beach may stand as the most important operas of the latter twentieth century. The critical essay portion of this thesis examines the trajectory of minimalist opera, from its beginnings with Glass’s Einstein on the Beach through the more romantic operas of John Adams, Steve Reich’s multimedia opera The Cave, David Lang’s musical-influenced The Difficulty of Crossing a Field, and finally the post-minimalist operas currently being staged by young composer Nico Muhly. It examines the differences between the more abstract trajectory established by the early Glass operas and the plot driven trajectory established by operas more commonly associated with John Adams, most significantly Nixon in China. Additionally, the aforementioned pieces are compared and contrasted with the author’s newly composed chamber opera Violetting through August’s End (or the sunset in water, the carillon-chime in square).
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Nomura, Mayu, and Mayu Nomura. "An Examination of Karen Tanaka's Approach to Minimalism: Water Dance and Techno Etudes." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/624575.
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Japanese composer and pianist Karen Tanaka (b.1961) gained international recognition for her compositions during the 1980s and has become a significant composer of the twenty-first century. Her works have been performed by distinguished international ensembles and encompass various genres including orchestral, chamber, solo instrumental, choral and electroacoustic music as well as sound design. Tanaka’s fourteen solo piano works comprise a variety of styles and levels of difficulty.
Among her solo piano works, Water Dance (2008) and Techno Etudes (2000) exemplify her unique approach to minimalism. This document includes analyses of rhythmic and melodic content, harmonic layering, and other musical devices to demonstrate how Tanaka creates a distinctive compositional language within a minimalist style in these two works. Only few scholarly studies exist regarding her works in English or Japanese; the purpose of this study is to introduce and provide resources about Tanaka and her works.
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Amaral, Guilherme Ferreira. "Relações entre elementos composicionais e meios de execução técnico-interpretativa em obras com características pós-minimalistas Brasil 2000, Amanduá e meio bossa para piano solo de Dimitri Cervo." Universidade do Estado de Santa Catarina, 2009. http://tede.udesc.br/handle/handle/1570.
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This dissertation presents a study of the works Brasil 2000 Op.12, Amanduá and Meio Bossa for piano solo, of the composer Dimitri Cervo (Santa Maria, 1968). The focus of the research was to realize an analytical study of compositional procedures and, based on this study, to present technique-interpretive criteria and suggestions to be applied during the preparation of the mentioned work. Both the criteria and the suggestions of instrumental realization were prepared considering elements of musical construction and the sound result expected by the interpreter. Having in mind that, in the chosen work, there are compositional resources of minimalist and postminimalism nature, like the huge amount of ostinatos and repetitive musical patterns, those, if studied in the wrong way, can favor the appearance of muscle damage and other discomforts that prejudice, the interpreter s health and still more the sound result. Based on these observations, strategies were organized to optimize the process of study in specific situations of execution. In order to reach this objective, recent bibliographies and research about pianistic technique that have the adaptation of the body movement to the resolution of musical questions were consulted, like the Movement Cycles (PÓVOAS, 1999), a resource of flexibilization of the movement and discussed concepts related to it that were applied to the execution of Brasil 2000, Amanduá and Meio Bossa. Contributions about the application of the study and analytical research in the musical-instrumental practice were also related to this work. In the beginning biographical data about the composer and general aspects about his journey and his compositional esthetics are presented. In the sequence the compositional procedures that are more used in the present works are identified and analyzed and the criteria with technique-interpretive suggestions that can be used as an orientation during the preparation and execution of them are proposed. It is expected that this piece of research can contribute to the literature related to musical analysis as a tool for the interpretive practice. This research can integrate the list of more recent research in the sub-area of interpretive practice, utilizing concepts that relate the analysis of compositional elements to the pianistic technique, aiming at the interpretation of national composers cotemporaneous work. The interpretive decisions and criteria presented here can be adopted in the pedagogical practice of these and other works that present similar characteristics to the ones studied here
Esta dissertação apresenta um estudo das obras Brasil 2000 Op.12, Amanduá e Meio Bossa para piano solo, do compositor Dimitri Cervo (Santa Maria, 1968). O foco da pesquisa foi realizar um estudo analítico de procedimentos composicionais e, com base neste estudo, apresentar critérios técnico-interpretativos e sugestões a serem aplicadas durante a preparação das mencionadas obras. Tanto os critérios quanto as sugestões de realização instrumental foram feitas considerando-se elementos de construção musical e o resultado sonoro pretendido pelo intérprete. Tendo em vista que, nas obras selecionadas, encontram-se recursos composicionais de natureza minimalista e pós-minimalista, tais como a grande quantidade de ostinatos e padrões musicais repetitivos, estes, se estudados de maneira incorreta, podem favorecer ao aparecimento de lesões musculares e outros desconfortos que prejudicam, além da saúde do intérprete, sobretudo o resultado sonoro. A partir desta observação foram organizadas estratégias com vistas à otimização do processo de estudo em situações específicas de execução. Para este fim, foram consultadas bibliografias e pesquisas mais recentes sobre técnica pianística que têm como foco a adequação do movimento corporal à resolução de questões musicais, tais como os Ciclos de Movimentos (PÓVOAS, 1999), um recurso de flexibilização do movimento e discutidos preceitos relacionados que foram aplicados à realização de Brasil 2000, Amanduá e Meio Bossa. Também foram relacionadas contribuições sobre o emprego do estudo e pesquisa analítica na prática músico-instrumental. Inicialmente são apresentados dados biográficos sobre o compositor e aspectos gerais sobre sua trajetória e sua estética composicional. Na seqüência encontram-se identificados e analisados procedimentos composicionais mais utilizados nas obras em destaque e os critérios com sugestões técnico-interpretativas que poderão servir de orientação durante a sua preparação e execução são propostos. Com esta pesquisa pretende-se contribuir para a literatura relacionada à análise musical como ferramenta para a prática interpretativa. Esta pesquisa poderá integrar o rol de pesquisas mais recentes na subárea das práticas interpretativas, utilizando-se de conceitos que relacionam a análise de elementos composicionais à técnica pianística objetivando a interpretação de obras contemporâneas de compositores nacionais. As decisões interpretativas e critérios aqui apresentados poderão ser adotados na prática pedagógica destas e demais obras que apresentem características semelhantes àquelas aqui estudadas
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Maddirala, Sumanth. "Minimal Criteria: Minimizing User Input and User Interface for Faster Output in Minimalistic Mobile Applications." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1560867841585446.
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Donát, Vojtěch. "Malba v rozšířeném poli." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232402.
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This work deals with overlapping paintings in other media, while maintaining an emphasis on "the essence of painting" (Painting) approach. It remains crucial for the whole session, overlaps paintings will be investigated as a function of the new language of discourse, supplementing traditional painting as a medium.
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Degani, Amir. "Minimalist Dynamic Climbing." Research Showcase @ CMU, 2010. http://repository.cmu.edu/dissertations/41.
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Dynamics in locomotion is highly useful, as can be seen in animals and is becomingapparent in robots. For instance, chimpanzees are dynamic climbers that canreach virtually any part of a tree and even move to neighboring trees, while sloths arequasistatic climbers confined only to a few branches. Although dynamic maneuversare undoubtedly beneficial, only a few engineered systems use them, most of whichlocomote horizontally. This is because the design and control are often extremelycomplicated.This thesis explores a family of dynamic climbing robots which extend roboticdynamic legged locomotion from horizontal motions such as walking, hopping, andrunning, to vertical motions such as leaping maneuvers. The motion of these dynamicrobots resembles the motion of an athlete jumping and climbing inside achute. Whereas this environment might be an unnavigable obstacle for a slow, quasistaticclimber, it is an invaluable source of reaction forces for a dynamic climber.The mechanisms described here achieve dynamic, vertical motions while retainingsimplicity in design and control.The first mechanism called DSAC, for Dynamic Single Actuated Climber, comprisesonly two links connected by a single oscillating actuator. This simple, openlooposcillation, propels the robot stably between two vertical walls. By rotating theaxis of revolution of the single actuator by 90 degrees, we also developed a simplerrobot that can be easily miniaturized and can be used to climb inside tubes.The DTAR, for Dynamic Tube Ascending Robot, uses a single continuously rotatingmotor, unlike the oscillating DSAC motor. This continuous rotation even furthersimplifies and enables the miniaturization of the robot to enable robust climbinginside small tubes. The last mechanism explored in this thesis is the ParkourBot,which sacrifices some of the simplicity shown in the first two mechanism in favorof efficiency and more versatile climbing. This mechanism comprises two efficientspringy legs connected to a body.We use this family of dynamic climbers to explore a minimalist approach to locomotion.We first analyze the open-loop stability characteristics of all three mechanisms.We show how an open-loop, sensorless control, such as the fixed oscillationof the DSAC’s leg can converge to a stable orbit. We also show that a change inthe mechanism’s parameters not only changes the stability of the system but alsochanges the climbing pattern from a symmetric climb to a limping, non-symmetricclimb. Corresponding analyses are presented for the DTAR and ParkourBot mechanisms.We finally show how the open-loop behavior can be used to traverse morecomplex terrains by incrementally adding feedback. We are able to achieve climbinginside a chute with wall width changes without the need for precise and fast sensingand control.
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Islam, Tajul. "Scholastic traditional minimalism : a critical analysis of Intra-Sunni sectarian polemics." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/18952.
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This thesis is an analytical exploration of the influence of medieval theology on contemporary scholastic traditionalist polemics within Sunni Islam. Intra-Sunni sectarian polemics as an emerging area of study is relatively untouched as opposed to sectarian violence. A detailed mapping of the theological terrain from the genesis of Sunni ‘orthodoxy’ and the perennial tensions within the classical theological tradition and how they have manifested parochially into the contemporary scholastic traditionalist trends of the Barelwi, Deobandi, Ahl-i-Ḥadīth and Wahhābī within the backdrop of the Sufi-Salafi contestation of Sunni authenticity is timely. Concern regarding growing extremism prompted Muslim Ulama, academics and political leaders to create unity initiatives such as the Amman Message and the Sunni Pledge in dealing with this problem and also delineating ‘orthodoxy’. The theological basis for these neo-credos can be explained as doctrinal ‘minimalism’. Minimalism is a growing social construction of scholastic traditionalists through which the warring factions are attempting to salvage the historical continuity with ‘orthodoxy’ and placate Sunni infighting. The thesis aims to examine the theological veracity of the minimalism project and explore its doctrinal, methodological and ethical facets. Polemicism and excommunication is the current state of affairs within Sunni theological discourse. Minimalism is deemed as the antidote to this problem.
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Xie, Zhuozhao. "Minimalism as a key trend of fashion industry in recent years." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18195.
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The author explores the roots of minimalism, its tendencies of growth in the fashion industry, key people, that changed the flow of the history of minimalism as a style. The author's purpose in writing the article is to analyze minimalism and forecast tendencies of its development in the nearest future. The object is minimalism as a style, with the main focus of research in recent trends in the fashion industry. Experimental, theoretical (analysis, definition and classification) methods were used.
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Sinha, Srija. "Extraction domains and information partition in Hindi." Thesis, University of York, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274519.
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Choi, Sangyun. "Minimalism, Exoticism, and Alternatim in Tarik O’Regan’s Magnificat and Nunc Dimittis and The Ecstasies Above." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103301/.
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Abstract
British composer Tarik Hamilton O’Regan is a significant choral composer of the early twenty-first century. O’Regan’s Magnificat and Nunc Dimittis and The Ecstasies Above exhibit two notable compositional techniques: minimalism influenced by Steve Reich and exoticism representing Balinese gamelan and Andalusian music. Additionally, Reich joins the technique of minimalism with the Renaissance practice of alternatim. The examination of these works will demonstrate the application of these two compositional techniques and how he integrates them into a textural context to evoke specific historical and cultural practices. Furthermore, this study will provide guidelines for researching and performing O’Regan’s choral works by explaining O’Regan’s stylistic characteristics.
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Schmiedicke, James Bradford. "Distillation." Thesis, Virginia Tech, 1996. http://hdl.handle.net/10919/33245.
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Ernest Hemingway conveyed emotion with an
elegantly straightforward system. My methodology
is patterned after his. To share a feeling,
I recall the sharp details that caused it:
buzzing bees fading to autumn's dry red rustle;
a murmur of voices from the sidewalk below;
stars creeping across a narrow aperture.
An honest detail, delivered without embellishment,
instills emotion. Form is sculpted and
rescupted, distilled, until a minimum of moves
create the "particular sequence of motion and
fact that make the emotion". Clear lucid
simplicity, the ability to share a fundamental
emotion with a single act, is the ideal of my
architecture.Master of Architecture
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Richey, Paul. "Awkward Silence." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2364.
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My work has a strong formal quality and a deep relation to minimalism without ever buying into it. Through tension and inserting my personal experience into the making of the work, but not always within the meaning of the work, I leave the viewer to draw their own conclusions.
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McCracken, Michael. "Prospects for a Deflationary Account of the Ontology of Propositions." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/368.
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A proposition ontology occupies a potentially rich and foundational place in a good deal of contemporary philosophical theorizing. Some of the biggest roadblocks to a wider acceptance and employment of propositions have been legitimate worries about their nature, or ontological "explanatory" power of theories that employ them. This dissertation attempts to understand and construct a deflationary or minimalist understanding of the notion of a proposition and its theoretical roles. On the basis of this understanding, following Stephen Schiffer (2003), I attempt to construct an ontology of propositions -focusing on general propositions- which avoids or dissolves the most pressing worries about their ontological nature, and the epistemological and explanatory statuses of propositions. In chapter one, I discuss the primary theoretical motivations for positing propositions, and argue for a general set of ontological constraints that fall out of a consideration of entities posited according to these motivations. In chapter two, after arguing that propositions are substantially ontologically independent of mind and language, I argue that propositions are conceptually mind- dependent, but that conceptual dependence of this kind does not amount to any sort of ontological dependence. In chapter three, drawing heavily on the work of Stephen Schiffer (2003), I substantially address the epistemological worries about propositions, arguing that propositions are pleonastic entities whose natures and existence we can know simply by reflecting on our proposition- introducing linguistic practices. In chapter four, I argue that propositions may or may not, in virtue of their status as pleonastic entities, play any substantial explanatory role, but that by utilizing the notion of a proposition, which, according to the pleonastic conception of them, guarantees their existence independent of our practices, is useful and perhaps indispensable to certain of our communicative and epistemic practices. Our propositional linguistic practices, involving essentially our reference to propositions, are thus pragmatically justified.
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Parker, Anna R. "Evolution as a constraint on theories of syntax : the case against minimalism." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/25057.
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This thesis investigates the evolutionary plausibility of the Minimalist Program. Is such a theory of language reasonable given the assumption that the human linguistic capacity has been subject to the usual forces and processes of evolution? More generally, this thesis is a comment on the manner in which theories of language can and should be constrained. The development of generative syntactic theorising in the late 20th century has led to a much redesigned conception of the human language faculty. The driving question – ‘why is language the way it is?’ – has prompted assumptions of simplicity, perfection, optimality, and economy for language; a minimal system operating in an economic fashion to fit into the larger cognitive architecture in a perfect manner. Studies in evolutionary linguistics, on the other hand, have been keen to demonstrate that language is complex, redundant, and adaptive, Pinker & Bloom’s (1990) seminal paper being perhaps the prime example of this. The question is whether these opposing views can be married in any way. Interdisciplinary evidence is brought to bear on this problem, demonstrating that any reconciliation is impossible. Evolutionary biology shows that perfection, simplicity, and economy do not arise in typically evolving systems, yet the Minimalist Program attaches these characteristics to language. It shows that evolvable systems exhibit degeneracy, modularity, and robustness, yet the Minimalist Program must rule these features out for language. It shows that evolution exhibits a trend towards complexity, yet the Minimalist Program excludes such a depiction of language. By determining where language falls in each of these three cases, the choice between the opposing positions of gradual adaptive evolution and the Minimalist Program is resolved. Language is shown to be imperfect, uneconomic, and non-optimal, and hence a typical biological system. Language is shown to exhibit the key features of evolvability, and hence accords with the usual pressures and constraints of evolution. Language is shown to be both complex and adaptive, and hence amenable to a gradual adaptationist evolutionary account.
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Seppälä, Wilma. "Against Neutrality and Minimalism, Choreographing Drama: A Degree Project in four acts." Thesis, Stockholms konstnärliga högskola, Institutionen för dans, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-947.
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The main purpose of this essay is to reflect on my degree project process whose main question was to wonder around choreographing drama and using feelings and emotions as dance material. Being able to approach the question, the text is written in the format of a play, here in four acts, the fourth act being the performance part of the degree project called Act Four: Scene of Sentimentality. Another focus of this text is to elaborate on the performance-making process and describe its methods such as Walking-Actions, Face Dance and The Tag of Pain. In the text I am referencing several artists that have somehow dealt with drama and/or emotions in their work for example Meg Stuart, Elina Pirinen and Pina Bausch. One of my methods for choreographing drama was to create contradictions. In this essay the strategy for creating contradictions was taking in an "enemy", here it being the 1960s minimalism and the so-called ‘neutrality’ in contemporary dance, and then arguing against the enemy. The essay ends with a meditation on the connection between emotions and dancing.
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Selig, Sandra. "The rhythmic disfiguration of vision : re-thinking subjectivity and art after minimalism." Thesis, Queensland University of Technology, 1999.
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Andersson, Leo, and Hubert Czekierda. "Visuell- och datakommunikation." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-20856.
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Människor i informations samhället är omringade av teknologier och medium som ständigt sänder information av alla slag till sina användare. Visualisering av denna information blir då en kritisk aspekt för den vardagliga användaren. Detta kandidatarbetet syftar till att utmana visuell kommunikation av information och data. Genomförandet av frågeställningen sker med hjälp av designperspektivet minimalism och metoden prototypande. Vi presenterar relevant forskning och metoder som skapar en utgångspunkt för en designprocess som experimenterar med visuella gestaltningar i olika design situationer. Genom utmanandet av metoder för visuell kommunikation ville vi få fram experimentella gestaltningar som bearbetar och förmedlar information till en mottagare. Resultatet av designprocessen är en prototyp som testar visualiseringar och möjliga interaktiviteter i den valda kontexten.People in the information society are surrounded by technologies and mediums that constantly transmit information of all kinds to their users. The design of this informationbecomes a critical aspect for the everyday user. This bachelor thesis aims to challenge visual communication of information and data. The question is carried out using methods such as prototyping and the design perspective minimalism. We present relevant research and methods that create a starting point for a design process that experiments with visual designs in a design situation. Through the challenge of methods of visual communication, we want to develop experimental designs that process and convey information to a recipient. The result of the design process is a prototype that tests visualizations and possible interactivity in the chosen context.
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Lukavičiūtė, Julija. "Minimalizmas Donald'o Barthelme'o romanuose." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2005. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20050614_105204-26053.
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The thesis aims at the analysis of Donald Barthelme's two novels "Snow White" and the "Dead Father". The analysis of the selected novels was focused on demonstration of the characteristics of postmodern minimalism such as fragmentation, collage technique, and language games. The introduction of the thesis reveals the link between the selected literary trend and the socio-cultural medium that influenced the development of postmodern minimalism in literature.
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Lin, Yi-An. "The Sinitic nominal phrase structure : a minimalist perspective." Thesis, University of Cambridge, 2010. https://www.repository.cam.ac.uk/handle/1810/270316.
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This dissertation is a comparative study of the morphosyntax of the constituents referred to as noun phrases in traditional grammar. In line with Abney’s (1987) Determiner Phrase (DP) Hypothesis, this study investigates the syntactic structures of Sinitic nominal phrases by means of a thorough study of lexical elements, such as numerals, classifiers, possessives, adjectives, and nouns, and functional elements, such as plural/collective markers, force particles, and modification markers. It is argued that the syntactic structure of the nominal phrase is universal regardless of the presence of lexical items which realise the heads of the functional projections. This study further proposes a unified account of the articulated structure of nominal phrases, as a full-fledged DP, to explain the syntactic phenomena in both classifier and non-classifier languages. More specifically, a Probe-Goal feature-valuing model is proposed to account for parametric variation among Sinitic and other languages within the framework of Chomsky’s (2000, 2001, 2004) Phase-based Minimalist Programme. Furthermore, given the assumption of the Split-DP Hypothesis, this study proposes that the DP in Sinitic languages is also not a unitary projection but an articulated array of functional projections, including DforceP, DfocusP, DtopicP and DdefiniteP. As their counterparts in the clausal domain, these functional projections encode discourse-related properties, such as illocutionary force, topic, and focus. As far as modification structures are concerned, this study argues that the bare modifier is base-generated in the Spec of a functional or lexical projection, whereas the marked modifier is adjoined to the left of the nominal phrase by the operation Adjunction.
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Konta, Maria. "Mel Bochner's early work (1966-1970) : the ordinary interpretation of painting after Minimalism." Thesis, University of Essex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437825.
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