This dissertation focuses on the architecture and the artistic decoration within Swedish cinemas during the period 1915–1939. The cinema is considered to be one of the many new building types from the 20th century. The era of the purpose-built cinema in Sweden began around 1910. The aim of this dissertation is to deal with the cinema as a building type and to discuss the cinema as a setting for the filmgoer. The examples of the 1910’s and 1920’s are characterised by their integrated exterior; the manner in which the cinema merges into the cityscape. In the evenings, when audiences gathered at the cinemas, the differences between contemporary theatres and concert-halls became evident. Upon entering the cinema, one’s passage towards the auditorium took one through a sequence of rooms, including the booking office, the cloakroom, and the foyer. The spatial dramaturgy of the cinema is that of the concert hall and the theatre. The artistic decoration of the cinemas of the 1910’s and 1920’s is characterised by attempts at an iconography of motion pictures, in contrast to the established symbols of the theatre. The examples from the 1930’s are characterised by the cinemas’ distinct imprint on the city. Neon-lights, canopies, doors and walls of glass within the cinemas led the way. Artistic decoration within the cinemas of the 1930’s is scarce. Attempts on creating an iconography of the cinema are few. Instead, the foyers are decorated with the posters and photographic portraits of movie-stars. A common feature of cinemas from the 1930’s is that the passage to the auditorium is short. A vestibule is the only space the visitor passes. The spatial dramaturgy of the cinema is different from contemporary concert-halls and theatres. This dissertation demonstrates a substantial shift concerning the cinema as a building type. When one considers cinemas to be composed of a sequence of rooms for the visitor to pass through in comparison to concert halls and theatres, important differences stand out. Thus, the cinema presents itself as a building type with specific functions as well as a specific spatial dramaturgy.

Morton Feldman's writings, lectures, and interviews reveal a unified and consistent compositional drive towards a static musical rhetoric, or, to use his term, Time Undisturbed. Essential to his outlook was the notion of orchestration as the primary compositional determinant: Feldman's starting point was not a theme in the conventional sense, but the sound of a particular instrument playing a particular note. His works for clarinet--- Two Pieces for Clarinet and String Quartet (1961), Three Clarinets, Cello, and Piano (1971), Bass Clarinet and Percussion (1981), and Clarinet and String Quartet (1983) cover the major periods of Feldman's career. As such, they are touchstone works for studying the evolution of Feldman's methods; because they share the clarinet in common, they provide an ideal means for studying Feldman's abiding pre-occupation with timbre as his primary material. Feldman's unique notational styles vary considerably from piece to piece, but he strategically orients each in such a way as to pursue his fundamental goal of Time Undisturbed. Feldman is the rare composer where verbal intention and musical means form an unshakable and poetic bond. Drawing on Feldman's writings and close analyses of the scores, this paper will demonstrate how all of these works reflect Feldman's central concerns, drawing on the potentials of their respective orchestrations to articulate Feldman's unique musical vision.

This dissertation documents and analyzes the architecture of the working-class bathhouse - its emergence in the nineteenth-century and revision and continued elaboration in the twentieth. It is a case study that examines how social ideas about modernity, health, and the body were translated into the built environment at a formative moment in Western urbanization. The first two chapters take a transnational perspective, with a survey of several urban centers (London, New York, Montreal). Chapter Three and Four focus in on Berlin as the central case study. The hygiene movement was deeply concerned with the built environment from its inception. Concepts of circulation and order were imbued with powerful health values, producing designs for the bathhouse that emphasized separation, regulation and a radically simplified space. Changing concepts of public life and the civic body shaped architectures of hygiene and inflected their decorative programs. A historical, spatial narrative of architecture and the body politic is opened up by a history of the bathhouse, which crosses Old World-New World, Historicist-Modernist, and Wilhelmine-Weimar boundaries. The substance of this research is drawn from previously unexamined archival and archaeological evidence from city bathhouses constructed in Berlin during the Wilhelmine period (Turmstrasse, Schillingsbrücke, Baerwaldstrasse, Dennowitzstrasse, Oderbergerstrasse and Gerichtstrasse Volksbadeanstalten), as well as the Weimar period (Mitte and Lichtenberg). The discussion of Weimar bathhouses includes a reading of Strandbad Wannsee (Martin Wagner, Richard Ermisch), Stoedieck and Poelzig's plans for the Thermenpalast (1929), and the graphic record of Heinrich Zille's <em>Rund um's Freibad</em> (1926). Critical perspectives rooted in the spatial politics of Lefebvre, Bourdieu, Benjamin, and Althusser help evaluate bathhouse architecture as a representational medium, a productive gadget, and a medical technology. The resulting history argues not only that social hygiene played different kinds of roles in the development of modern architecture, but also that changing concepts of the hygienic body generated diverse modes of interaction between the individual and the public sphere. / Dissertation

<p> The rise of social practice art in Europe and North America since the 1990s has provoked a variety of critical alignments and contestations around multi-authored "post-studio" artwork, aimed at collapsing the boundaries between visual and performing art, and between art and everyday life. One of the most visible and impassioned contestations has centered on the value assigned by different critics to so-called convivial and antagonistic directions for social practice art. This project enters the debate on collaborative and participatory art by highlighting the commonalities between the turn away from spectatorialism in philosophy and the politically-driven, activist social practices coming out of the visual arts. Contending that the more salient problems under debate revolve around what art historian Grant Kester has described as "a series of largely unproductive debates over the epistemological status of the work," I focus on the way different epistemological frames impact the reception of convivial and antagonistic directions in art. With attention to the theory and criticism of Clare Bishop, Grant Kester, Shannon Jackson and Tom Finkelpearl, I examine how a variety of epistemological frames both reflect the work's values around social change, and also impact the critical lenses through which such values are communicated to the public through art criticism. While Bishop raises important questions around the limits of a turn against traditional art spectatorship and singular authorship of visual art, I claim that her view of a convivial tendency in social practice art overlooks key epistemological insights embodied in feminist standpoint theory and American pragmatist epistemology. I contend that John Dewey's view of knowledge as <i>transactional</i> captures the epistemological framing of some of the more socially ameliorative directions social practice work has taken in recent decades because Dewey rejects a view of knowledge that divides subjective entities from each other and from their wider environments. Bishop's traditional spectatorship model fails to capture the aesthetico-political ethos of an area of art that acknowledges the fragile contingency of standpoints. I show that the criticism of Kester, Jackson and Finkelpearl recognize this contingency and then enlarge their perspectives by bringing attention to feminist standpoint theory and pragmatist aesthetics and epistemology. I conclude by claiming that a more robust way of understanding the value of social practices in art recognizes that transactional and contingent standpoints demand an ethos rooted in the continuity of convivial and antagonistic features of aesthetico-political experience.</p>

<p> This paper is a review and discussion of the career of French runway photographer, Guy Marineau. It specifically explores his tenure at Fairchild Publications between the years 1975-1985, contextualized by his personal experience and the history of the fashion show. Prior to shooting the runway, Marineau photographed conflicts in Portugal and Israel. Traumatized by war, Marineau, decided to realign his career towards capturing beauty.</p><p> Fashion shows emerged around the turn of the century, and press coverage of them has been long fraught with complications due to the threat of copyists reproducing unlicensed designs. During the mid-1950s John Fairchild tirelessly challenged the strict embargo set by the <i>Chambre Syndicale</i> that restricted the immediate release of images taken at couture shows. Yet by the 1960s, the demise of the haute couture was imminent, and couturiers resorted to licensing to keep their houses afloat, which in turn, reestablished their relationship with the press.</p><p> Since his start at Fairchild Publications, Marineau approached runway photography through the eyes of a war photographer. Marineau's work improved vastly as he grasped how to shoot fashion shows and was one of the first to challenge the established protocol by leaving his editor for the end of the runway. His photographs kept pace alongside his continuously evolving subject, the fashion show, and with advancements to camera technology. Relatively unknown, Marineau's work remains an undiscovered wealth of fashion history. His photographs are a testament to the once-diverse genre of runway photography that is slowly being replaced by the standardized runway photographs now linked with fashion websites.</p>

Interference is a fundamental physical phenomenon proving the wave nature of energy. It is based on wave superposition forming natural waveeffects expressed both in nature under random selective conditions as well as in laboratory scientific experiments by carefully controlled selection of parameters. Science generates a number of technology applications using the inherited properties of waves after their superposition in space termed interference. These interfering waves have extremely rare properties compared to their initial physical systems and become entities with measurable quantities which can be used to quantify qualities in other phenomena, mechanisms, and physical objects with variety of physical properties. These waves are currently fully explored in theoretical and experimental physics finding many modern applications and enlightening the way to longstanding questions. Remote non contact study of surfaces and their reactions visually witnessing internal subsurface and unknown bulk information without need to implement destructing forces or penetrating irradiation to trace them and without interacting with it or interfering with the results is one of the most challenging modern applications of interference physics. Apart from everyday life applications artworks’ conservation is a field that interference properties are uniquely suited. It is the quality of light wave interference that is being utilised in this body of research and summarised in the present thesis. The context of the presented thesis unfolded in next chapters is constructed in one book on a contextual rather than chronological order. The contextual base presentation is achieved through clustering same context published articles that have resulted over the course of years of research which have been published in review journals, conference proceedings or governmental publications. The formation of laser interference fringe patterns and their exceptional qualitites in application for structural diagnosis with defect detection and definition, their unique properties utilised in studies of environmental and climate effects, the prototype optical geometries and novel experimental methodologies envisaged to solve specific application problems are presented along with examination on theoretical matters of exploring interference properties, qualities, geometries and their outmost final product the interference fringe pattern. Thus in this thesis the aim is to prove the contribution of the experimental research publications to the study of interference patterns as a highly sophisticated structural diagnostic tool in the complicated problems of Cultural Heritage applications. The implementation of interference phenomena and the development in experimental investigations applied in inhomogeneous, anisotropic, shape variant, multilayered, multicomposition cultural heritage objects, paves the way to implement “fringe patterns” as a scaleless (scale independent) diagnostic detector allowing generation of novel tools and practices on problem solving projects. The developments are beyond the specific application and are extended to other fields of science and technology. The articles and bibliography cited within the text including author's publications utilised as sources in the writing of this thesis are referenced in square brackets and are explicitly listed in ANNEX I The list of publications of the author is shown in ANNEX II. The originals of author's publications supporting the thesis are provided after the Annex II as have been published. Due to limitation in number of pages there is not included a section to present the fundamental principles of the phenomena presented here instead a list of books commonly found in most University libraries is provided for interested readers as BIBLIOGRAPHY at the last paragraphs of ANNEX I.

This dissertation analyzes the social function of native art in colonial New Spain through the examination of a genre of maps painted by Indian artists known as Land Grants or Mapas de Mercedes. Land Grant maps constitute the response of the native population to a Spanish land distribution practice implemented in the sixteenth century to allocate the territory among its dwellers in an orderly fashion and prevent the illegal occupation of the land. One remarkable feature this program adopted in New Spain was its strong visual component; the viceroy requested a painted map as part of each lawsuit's evidence. This is unique to the viceroyalty of New Spain and did not happen anywhere else in the Americas. It is reflective of the Indigenous deep-rooted tradition of thinking visually and dealing with everyday matters through the use of painted manuscripts. It was also stimulated by the Spaniard's belief in the truth-value of native pictorials. The result was a vast production of maps of which approximately 700 have survived. Since they were produced for the specific context of land grants and have their own distinctive characteristics, it is possible to say that this was also the birth of a new artistic genre. The present work examines how Indians in the colonial period created these artworks that enabled them to negotiate with the colonizers, defend their rights, and ultimately attain a more favorable position in society. This project demonstrates that the Indians took up this opportunity to design maps that were an essential component of their defense strategy. My research is based on a thorough examination of the originals at the National Archives in Mexico. I combined visual analysis with the transcription and paleography of the case’s files, and a review of primary and secondary historical sources. This interdisciplinary approach enabled me to demonstrate that native artists not only described the contested site in their maps but also translated their own ideas about this space into visual form. My research underscores Indian agency and illustrates how they used Spanish laws to their advantage in preserving their possessions, sometimes to the twenty-first century. / History of Art and Architecture

The unity of the arts has been acknowledged for centuries. It was during the 18th and 19th centuries in England that a new attitude toward nature and the development of the "picturesque" landscape aesthetic brought the two arts of landscape painting and design closer together. 17th century Italian landscape painting became associated with the informality and irregularity of nature, and became a source of inspiration for many landscape gardeners. The extent to which the landscape designers, William Kent, Capability Brown, and Humphrey Repton, were influenced by painting varied greatly. In turn the developing landscape design theory and aesthetic influenced many English landscape painters searching for a native style of their own, both in terms of subject matter and technique. The creation of the English landscape aesthetic was an extremely complicated one with ongoing influences resulting in constant changes and effects.

The vast contributions made by Louis XV at Versailles are some of the finest examples of painting, sculpture, architecture and decorative arts produced during the 18th century. Oddly, the Appartement Prive, the Petit Appartements, and the Opera, among other examples, have been the most overlooked, criticized, and for a time denigrated and condemned achievements made at Versailles. This state of affairs prompted a historiographical examination of 18th-century Versailles to understand, odd and erroneous interpretations. In the process of analyzing and categorizing the literature and scholarship on 18th-century Versailles, certain patterns of interpretation, many of them contradictory and inconsistent, appeared. The thrust of this thesis is to map-out these patterns--particularly from the period of 1870-1930 when a remarkable scholarly and physical renewal was taking place at Versailles--and to discover and understand the underlying ideological motivations for these shifting patterns of interpretation.

<p> This dissertation contributes to an understanding of contemporary art practices from Mexico City, as they are received in Mexico and abroad, by interpreting the meaning of local and global sources in recent work shown in Mexico, the U.S., and Europe by three internationally established, contemporary artists from Mexico City: Gabriel Orozco, Carlos Amorales, and Pedro Reyes. These three artists established their careers in the 1990s, when, for the first time, Mexican artists shifted from a national plane to a global realm of operation. Through three case studies of recent bodies of work produced by these artists, I show how each of them engages with both Mexico's artistic lineages and global art currents in ways that bring to light the problem of identity for Mexican artists working internationally. This study explores the specific ways in which each artist deals with Mexican content, in order to discuss how contemporary notions of `Mexican' are framed, misconstrued, and contested in the artworks themselves, and in the critical discourse on these artists, in Mexico and internationally.</p>