This thesis is written as an essay, which considers sculpture outside of its definition as art object. Having as its goal finding an intrinsic definition of sculpture, the essay sets on a short journey meandering between ideas, historic precedents, and anecdotes. Among some of the discussed thing are: necessity, labor, leisure, Olduvai chopping stone tool, making, human hand, brain, body, pineal gland, third eye, speculation, materiality, Dixie cup, objecthood, sign, imagination, ENIAC, immateriality, myth, labor, leisure, storytelling, alien, alienation, destruction, creativity, genius, death, weed. The essay concludes that sculpture does not need a definition.

Ce mémoire propose d’explorer quel(s) statut(s) sont accordés aux compositeurs contemporains dans le contexte musical parisien des premières années du XXe siècle à travers une analyse de la presse musicale spécialisée de l’époque. Le corpus de notre recherche est constitué de trois revues, chacune ancrée dans des sphères de sociabilités bien distinctes : La Revue musicale (histoire et critique), une « revue savante » proche du milieu de la Schola cantorum ; Le Mercure musical, une « petite revue » d’avant-garde militant en faveur de la musique de Maurice Ravel ; et Musica, une « grande revue » destinée à un lectorat issu de la petite bourgeoisie en plein essor, essentiellement féminin et pratiquant la musique en amateur. Cette étude révèle que la traditionnelle opposition entre la conception du compositeur-artisan et celle du compositeur-génie issue de la fin du XVIIIe siècle et du XIXe siècle voit apparaître un troisième joueur à l’aube du XXe siècle : le compositeur-vedette, un statut qui était jusqu’alors généralement réservé aux interprètes. Ces trois statuts coexistent dans le panorama de la presse musicale du tournant du XXe siècle, et leur promotion par certains organes de presse spécifiques répond à une logique tantôt esthétique, tantôt économique. Il se dégage de cette étude que la presse musicale constitue non seulement un indice des variations qu’a subies la figure du compositeur dans le spectre de la grandeur en culture, mais qu’elle a également joué un rôle actif dans ces transformations. / This master thesis proposes a look of various statuses given to contemporary composers in the Parisian musical context at the beginning of the 20th century, through an analysis of the specialised press of that period. The corpus of my research consists in three different journals, each one with its own distinct sphere of sociability: La revue musicale (histoire et critique), a scholarly publication close to the Schola cantorum; Le Mercure musical, an avant-garde publication which has championed Maurice Ravel’s music; and a third, Musica, a magazine with a much larger audience, intended for the growing middle class, and which readership is mostly constituted of women and music learners. This thesis reveals that the traditional opposition between the concepts of craftman-composer and of genius-composer — a concept deriving from the end of the 18th century and the 19th century — sees the rise of a third component at the beginning of the 20th century: the star-composer, a status which was until then only limited to performers. Those three statuses coexisted throughout the musical press during the early 20th century. Their promotion by specific publications was in some cases done for aesthetic reasons and in others for economical motives. The outcome of this study reveals that the musical press is not only an indicator of the changes in the composers’ status within the array of cultural greatness, but it has also played an active role in these transformations.

Through the evolution of digital media technology, social networks and more recently Web 3.0 (e.g. Cloud-based) technologies, culture and memory is being transformed, both in relation to how memories are represented, and how they may be engaged with or re-accessed. As digital technology alters ways in which knowledge is produced, stored, connected and shared, new terrains, tools and artefacts are formed; new cultural practices alter the ways in which we remember and the ways in which memory is processed, destabilising traditional “historically encoded social habits: religion, authority, morality, traditional values, or political ideology” (Diamantaki 2013). This doctoral project consists of two parts exploring questions of memory in contemporary time. The practice work submitted develops various imaginaries and investigates how to enable mnemonic practices so that works function as memory palaces where bodies and ‘collective' and ‘networked memories' (Hoskins, 2010) can be realised. The work, briefly summarised, includes communal activities in public spaces (a series of workshops and heritage day events, Rendezvous, centrally social activities organised between Fabrica and various charitable organisations in Brighton). It includes a series of installation works, as a transitional process of memory between body, object, an investigation of ubiquitous technology, are investigated – iremembr (2009-15); Rendezvous (2010-15); Untitled#21 (2012). And it leads to the development of an installation piece, 200.104.200.2 (2013-15), that seeks to offer or extend the possibilities of the act of remembering, of memory, as a post-Internet experience; a complex temporal, social, spatial and material, overlapping and merging human and silicon memory. In this, the written component of the combined and larger project, questions concerning memory and digital technology, and how to explore them, are taken up in theoretical terms, and the works I have produced returned to and explored in these contexts. A central project here has been to locate new forms of qualities of ‘digital' memory in a memory map or topology that builds on adapts, and develops other models. Aspects of zones of memory are explored centrally in each of the later thesis chapters each of which also takes up a particular aspect of my practice. The intention – and the contribution to the development of critical thinking around the digital – particularly critical thinking that comes through digital media art practice, is to question how digital technology intervenes in the process of memory; how the concept of digital memory is being thought about; leading me to investigate what does this new digital terrain do as it overlaps and re-writes to some extent the older ones? How does it change ‘how memory happens'.

The thesis argues that there is a pressure on the authorship concept since the emergence of collections of facts, anthologies, and adaptations of pre-existing works. These works were the reason that Judges offered various interpretations to authorship and originality, as some Judges lessened the requirement of originality to obtain copyrightability for these works and some raised it. This led to make the protection granted by copyright law to intellectual works vague and uncertain. This became apparent in conflicts in courts decisions on copyright subsistence in works. This subsequently led to confusion around the criteria of interpretation that should be adopted and the theory or justification that copyright law is founded upon. The thesis argues that this vagueness and uncertainty is related not to the authorship concept but to the failure of law to adapt to two separate natures of works, one including authorial, mental and personal contribution and the other only including manually skilful contribution. Those two kinds cannot be subject to same principles or justifications of protection. The inexistence of such differentiation in doctrine, judiciary and legislation led to the distortion of authorship and originality concepts in the attempts to reduce their interpretation to suit those works that actually miss authorial contribution. Alternatively, whole attention was paid to granting ownership to right holders of these works, which led to the prevalence of the ownership concept as being a necessity for the marketability of cultural works over the authorship concept. The thesis finds that this difference in nature can be uncovered by settling on a differentiation between two kinds of skills that are used in creating works: the mental skills, which are authorial skills, on the one side, and manual skills, which are the collecting, combining, performing or executing skills, on the other. Accordingly, this thesis proposes a categorisation of works, that of ‘high, low and non-authorship’ works, which relies on the nature of the works and elements of authorship in the work. The thesis finds that every category of works needs a separate criterion that can suit its nature and constituent authorship elements; also, the protection needs to be graded depending on the level of authorship in the work. This thesis suggests that such a legal proposition be implemented digitally in what it calls the ‘Digital Cultural National Gate’, which decides the category the work should belong to and the correspondent protection, and that through some questionnaires on the work the authorship elements can be recognised.

China is a world force. Not only is China seen in the daily news but it has produced the largest church in the world. The church is 100 million people strong (Hattaway 2003:13). Since 1978, modern China has begun to populate the world community with her immigrants. Vast Diaspora communities have been created. The church in China shows all the signs of a Jesus People movement. In 1949 the communist came into power. They ordered all Christian missionaries to leave the country (Aikman 2003:44). By 1953 the last missionary had left (Thompson 1978:186). Mao closed the churches, confiscated property, burned books and bibles and had leaders sent to re-education camps. A time of persecution had begun. Rather than destroy the church, this made it stronger. The church grew from 750,000 to 100 million today. Can this Jesus People movement be experienced in the Diaspora community in South Africa? To evaluate this we use Allan Hirsch’s “The Forgotten Ways” (2006). In this he speaks of Apostolic Genius and the six elements that compose it. Thos elements are Jesus is Lord, Making Disciples, Missional-Incarnational Impulse, Apostolic Environment, Organic Systems and Communitas. These six elements are found expressed within a Jesus people movement. When they are all fully involved, a Jesus People movement is underway. There are 14 Chinese Christian churches in South Africa. The Chinese Diaspora community is 300-350,000 people. The Chinese mostly come from the Fujian province in China. Seventy percent are entrepreneurs and businessmen running shops selling Chinese goods. The researcher has found that the leadership of the churches is from Taiwan. Bringing everything together, the researcher finds the churches are growing at a moderate rate. The expected explosive growth of the church in China is not found in South Africa. The elements of Apostolic Genius are present but only partially expressed. There continues to be potential for the Chinese House church movement to field workers in South Africa. There has been some expressed interest. The Back To Jerusalem Movement is putting missionaries all over the Middle East (Hattaway 2003). It is the opinion of the researcher that putting workers in the Diaspora communities would be a natural extension of that that effort. / Dissertation (MA Theol)--University of Pretoria, 2013. / gm2014 / Science of Religion and Missiology / unrestricted

Master's thesis is devoted to the topic of urban planning and the city of Rome. The aim of the thesis is to explore the ways of depicting urbanism in contemporary fine arts, forms and topics in which it is presented. Furthermore, the essential part of the work is the history of urbanism, the principles and deviations of urbanism and especially the Eternal City (Rome). As far as Rome is concerned, the author discusses her foundations, the growth of the city from the very beginning of the foundation, the influences of urbanism, the demonstration of the characteristics of the ancient "urbe" and how today's contemporary artists solve new ways of urbanization, or how and in what way they are inspired by Roman cities? An important element of the cities is not only the city planning itself, but also its Genius loci, the spirit of the place, the author separates and explores the cities of the day and the night cities and explores what are their differences in character. An important part of the thesis will be: How do today's children perceive cities, what do they mean to them? What do they think is important and what is the function of a city? How can a city educate a child culturally? The author will propose a set of art assignments for primary and secondary school pupils, which will present the...

George Sand, née Aurore Dupin (1804-1876), est une des écrivaines les plus prolifiques de la monarchie de Juillet (1830-1848). Son œuvre monumentale s’intéresse à une myriade de sujets, qui sont souvent étudiés dans la perspective de l’idéal. Sand s’intéresse entre autres à la notion de poète-artiste, qui désigne un artiste idéal. Cette notion, propre à cette période, se distingue de celle du poète, qui est écrivain. Alors que la signification de la notion de poète-écrivain est arrêtée, le poète-artiste fait l’objet d’une définition vague et subjective. Pour sa part, Sand considère que le poète-artiste désigne à la fois un artiste et un philosophe. Cette proposition, qui est clairement émise, constitue un axe central à toute la pensée artistique qu’elle développe. C’est ce qui est exploré dans le présent travail, à travers trois thématiques de la pensée artistique de George Sand. Ces thématiques feront chacune l’objet d’un chapitre. La notion de la fraternité des arts sera d’abord étudiée. Cette thématique typiquement romantique, omniprésente dans les écrits de Sand, perçoit les différentes disciplines comme formant un tout. Ensuite, il sera question de la hiérarchie des arts : George Sand considère que la musique est la discipline supérieure, comparativement à certains de ses contemporains qui accordent plutôt ce titre à la poésie. Enfin, George Sand perçoit une figure de génie à travers ses écrits, qui s’approche de l’artiste idéal. Toutes ces thématiques sont étudiées en étroite relation avec les visions habituelles de l’époque, soit la monarchie de Juillet. / George Sand, born Aurore Dupin (1804-1876), was one of the most prolific writers of the July Monarchy (1830-1848). Her monumental work focuses on a myriad of subjects, which are often studied from the perspective of the ideal. Among other things, Sand was interested in the notion of the poet-artist, which refers to an ideal artist. This notion, specific to this period, is distinguished from the other poet, which is a writer. While the meaning of the notion of poet-writer is well determined, that of poet-artist is subject to a vague and subjective definition. For her part, Sand considers that the poet-artist designates both an artist and a philosopher. This proposition, which is clearly stated, constitutes a central axis to all the artistic thought that she develops. This is what is explored in the present work, through three themes of George Sand's artistic thought. Each chapter is devoted to one of these themes, with an attempt to organize the artistic thought of Sand. The theme of the brotherhood of the arts will be studied first. This typically romantic theme, omnipresent in Sand's writings, perceives the different disciplines as forming a whole. Then, the hierarchy of arts will be reviewed: George Sand considers that music is the superior discipline, compared to some of her contemporaries who believe that poetry is the superior discipline. Finally, George Sand perceives a figure of genius in her writings, which comes close to the ideal artist. All these themes are studied in close relation to the usual visions found under the July Monarchy.

The main goal of this project is to fill the potential of the place, that is hidden behind the church wall. A proposal that will benefit not only the place itself but also the village community and visitors. A project that revives the spirit of the place but preserves its intimate atmosphere. The design itself includes a bistro, an art gallery, accommodation with sauna and a wine gallery. Between all of this is a Provence-style garden.

The main topic of the work is the interpretation of feelings related to the issue of disappearing landscape values at the expense of uncontrolled extensive development of suburban areas. It is a subjective thought product of several years of experience in architectural practice, including, among other things, one's own participation in a similar invasive construction. This empiricism has resulted in the constant questioning of ethical conduct and responsibility. The key terms are suburbanization, urban sprawl, development, satellite town, outskirts, transformation of the aura of a place in „non-aura“. An integral part of the work is represented by considerations about the general position of the object within the hierarchy of (sub)urban space. The object does not mean only positive examples in the form of aesthetic, orientation or vegetation elements. The focus is also on its averted form — waste, utilitarian technical and functional elements or, for example, the seemingly endless colonization of public space by cars. Colonization of our minds. All spatial objects are also psychotropic. Their mental impact can be beneficial, arousing affect or emotion. But what if the objects in the public space are completely missing? The urban object is not far from the position of an artifact, a prop of everyday life, which does not belong to a person physically, but mentally.

Silser See, Engadin (1927) est un paysage qui fait partie des œuvres les moins connues de Gabriele Münter. La marginalisation de ce tableau dans le corpus de l’artiste s’explique d’une part par le fait que celui-ci est toujours resté à l’intérieur du cercle restreint des collections privées, et d’autre part, du fait qu’il s’inscrit dans une phase peu productive de Münter. Cette phase correspond aux années 1920-1930, soit une décennie durant laquelle la production de Münter se trouve grandement affectée par les nombreux bouleversements que la Première Guerre mondiale entraîne dans sa vie personnelle et artistique. Le but de ce mémoire est de réfléchir la signification Silser See, Engadin pour Münter et de démontrer comment ce tableau s’intègre dans le dénouement de la crise qu’elle connait en 1920-1930. Pour ce faire, j’explore d’abord les différents événements qui ont défini le développement artistique et personnel de Münter. J’approfondis ensuite l’importance du paysage dans son œuvre en étudiant son rapport à la nature et à Murnau. Puis, je m’intéresse au genius loci de Sils-Maria et à l’influence de Friedrich Nietzsche sur Münter. En tenant compte de l’ensemble de ces éléments, j’analyse finalement les différents symboles contenus dans Silser See, Engadin et démontre comment Münter s’est appropriée les composantes du paysage de Sils-Maria pour exprimer sa renaissance après une longue période de crise. Ce mémoire s’inscrit dans un désir de contribuer à la réflexion sur l’importance de la nature et des lieux dans l’épanouissement de l’être humain. / Silser See, Engadin (1927) is a landscape painting that is among the least known works of Gabriele Münter. The marginalization of this painting in her corpus can be explained on one hand by the fact that it has always remained within the restricted circle of private collections, and on the other, by the fact that Silser See, Engadin is part of a less productive phase of Münter’s work, which has so far received little interest from art historians. This phase corresponds to the years 1920-1930, a decade during which Münter’s production was greatly affected by the many upheavals that the First World War brought about in her artistic and personal life. This thesis argues for the importance of Silser See, Engadin for Münter, and demonstrates how this painting fits into the resolution of the crisis she went through during that decade. To do so, I first explore the various events that defined her artistic and personal development. I then establish the importance of landscape in Münter’s work by examining her relationship to nature and Murnau. Next, I study the genius loci of Sils-Maria and the influence of Friedrich Nietzsche on Münter. Taking all these elements into account, I finally analyze the different symbols contained in Silser See, Engadin and demonstrate how Münter transformed the components of the Sils-Maria landscape to express her rebirth after a long period of crisis. This thesis invites the reader to consider the importance of nature and places in relation to the development of the human being.