I det här masterarbetet har jag musik för tre olika musikaliska sammanhang; elektronisk pop i samarbete med kurskollega, kortfilmsmusik i samarbete med filmregissör och musik till statistik i samarbete med SCB. De tre delprojekten rör sig inom olika musikaliska uttryck och har olika instrumentering. En frågeställning som genomsyrar tankegångarna i textens reflektioner är vilka likheter i fråga om uttryck och processer de tre olika verken har även om de har olika estetiska ramar och förutsättningar. Arbetet har genomförts i syfte att undersöka hur de olika inriktningarna påverkar och influerar mig som musikskapare. Går det att se hur flödet av influenser ser ut? Vidare tar jag upp olika föreställningar om att som enskild musikskapare arbeta inom olika inriktningar och medieuttryck. Metoden har utgjorts av kompositionsarbete, improvisation, musikproduktion och studioinspelningar. Resultatet av arbetet är tre olika musikverk varav två; kortfilmsmusik och musik till statistik, är en sorts beställningsverk med målet att spelas i den offentliga kulturen. / In this master dissertation, I have created music for three different musical contexts; electronic pop in collaboration with a program colleague from KMH, short film music in collaboration with film director and finally music to statistics in collaboration with Statistics Sweden (SCB. The three sub-projects move within different musical expressions and have different instrumentation. An issue that is central in the reflections of the text is what similarities in terms of expression and processes the three different works have, although they have different aesthetic frameworks. The work aims to find out how the different directions affect and influence me as a music creator. Can you see what the flow of influences looks like? Furthermore, I discuss different conceptions of working as an individual music creator in different directions and media expressions. The method has consisted of composition work, improvisation, music production and studio recordings. The result of the work is three different pieces of music, two of which; short-film music and music for statistics, is a kind of commissioned work with the goal of being played in the public culture.

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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.

The purpose of this paper is to examine how God and Moses are depicted in three contemporary American film adaptions of The Exodus story. The films I have analyzed are: The Ten Commandments (2006), The Bible: Exodus (2013) and Exodus: Gods and Kings (2014). For this, I have used a content analysis and Bruce Lincoln’s theory of religious maximalism and minimalism. This study has shown that the first two films are characterized by an almighty God who helps Moses from the very first step, while the third gives a more scientific explanation of e.g. the ten pledges and the crossing of the Red Sea. While God in The Bible: Exodus (2014) is also portrayed as a god who acts out of love and compassion for his people, this is not the case in the other two films which instead portray him in a much more negative light. My conclusion is therefore that these three films do not only differ in how God and Moses are depicted but that they provide us with different messages about God and religion in general.

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The music of John Adams (b. 1947) exemplifies a reinvestment in traditional instrumental genres and musical values that began to take place in contemporary music in the late 1970s and early '80s. His Harmonielehre for orchestra (1984-85) meets many of the conditions of the symphonic genre, including its scoring for full orchestral forces, its multi-movement structure, its presentation of contrary, dialectical melodic gestures, and its dramatic thematic and harmonic conflict. It is thus ironic that Adams would title his composition after a treatise written by Arnold Schoenberg, a figure whose break from the musical past inspired many of the complex and experimental musical models that arose between the publication of his own Harmonielehre (1911, rev. 1922) and that of Adams. But to conclude that Adams' composition is a statement about tonality is perhaps over-simplistic. Examination of the two works reveals more similarities between the composers' artistic philosophies than differences. This dissertation is an attempt to expose these similarities in order to discover the motivations behind Adams' curious decision to title his composition after Schoenberg's treatise, and to gain a deeper understanding of the artistic priorities shared by both composers that arises from the interrelationship between their respective Harmonielehren. Adams' title is partly a marker of the types of Romantic-era stylizations that pervade his score. But I argue that the relationship between the two Harmonielehren is not merely cursory. Prevalent themes within Schoenberg's prose can inform the analysis and interpretation of Adams' composition. Adams draws on Schoenberg's treatise as a signifier of his creative identification, one that both complements and departs from the creative model presented in Schoenberg's text. Both Harmonielehren confront the aesthetic expectations of their individual times and places, but while Schoenberg centers his creative identification in a discourse of restless inquiry into new materials and models of musical expression, Adams seemingly subscribes to Schoenberg's presentation of composition as craft, as the working-with and fitting-together-of the pre-existing sound vocabularies of music.

This document begins with the end of a life and ends with the beginning of hope. It is a brief description of the artist's history, artistic and literary influences, and subsequent works produced during graduate school, specifically Dichotomy, Swan Dive, and Jimmy Hit His First Home Run. Topics discussed include Human Physiology, Transference, Buddhism, and Bubbles. This document was created in Microsoft Word 2004 for Mac, Version 11.2.

This dissertation examines the video-installations created by American artist Dan Graham in the 1970s. It investigates the artist's relationship to Minimalism by analyzing themes Graham highlights in his own writings and in interviews. In particular, I explore how the artist's understanding of Herbert Marcuse, Walter Benjamin, and R.D. Laing informed his post-Minimalist work and how concepts gleaned from these sources are manifest in his video-installations. Also undertaken are discussions of the artist's interest in aestheticized play, the just-past present, the debate between Behaviourism and phenomenology, surveillance, and Modern architecture. In addition, I investigate Graham's position in Conceptual art, use of site-specificity, and the practice of institutional critique. At the outset, I provide an in-depth analysis of two of Graham's magazine pieces, Schema (March 1966) and Homes For America, that ties together the artist's reading of Marcuse and his rejection of Minimalist phenomenology. Next, I give an account of the artist's connection to early video art and his use of time-delay in works such as Present Continuous Past(s) and Two Viewing Rooms as a means to highlight the just-past present. Finally, I examine Graham's architectural video-installations Yesterday/Today, Video Piece for Showcase Windows in a Shopping Arcade, and Video Piece for Two Glass Office Buildings as instances of site-specific art and as part of the artist's practice of institutional critique. I also explore his references to the notions of art-as-window and art-as-mirror as an expansion of his engagement with Minimalism. Throughout, my discussion includes comparisons between Graham's work and that of other artists like Vito Acconci, Bruce Nauman, and Hans Haacke. In sum, this study offers an expanded understanding of how Graham employed video and installation in his art as a means to move beyond Minimalism and to interrogate contemporary American society.

American artist Lee Bontecou’s oeuvre is often described as difficult to categorize or “mysterious.” Her early work—a series of metal and canvas reliefs made between 1959 and 1965—is linked to a range of stylistic associations including such radically divergent movements as assemblage, minimalism and abstract expressionism. Alternately, contemporary art historian Mona Hadler cites a series of iconographic connections between Bontecou’s reliefs and the popular culture and politics of the late 1950’s and early ‘60s. Using historian Reinhardt Koselleck’s theorization of historical time where history is constituted by an amalgamation of “temporal layers” based on particular historical perspectives, this thesis will explore the varied stylistic associations of Bontecou’s early reliefs by investigating their artistic as well as social and political contexts. In doing so this thesis will demonstrate that these so-called “mysterious” forms were created and exhibited in relation to a several different historical perspectives or “temporal layers.”

Absence is the thesis exhibition resulting from the culmination of my three years in the graduate program. In this documentation, I outline historical and contextual influences that shape my ceramic practice. I specify that my work is centered on my life and describe how my work has evolved since I first started in the program. In the process I have gathered source material and have explored key points in the theory and history of Minimalism. As I developed the work, I was able to discuss how my work applied to these sources, and where it differed. I ended with introspective installation work that paralleled the themes I was working with at the start of my graduate experience that shows my evolution from being a child continually bounced around from one family member to another, to being the confidant of my mother and holding her darkest secrets, to feeling alone and unloved, to finally beginning to heal and accept who I am. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection