Myths, misinformation, and sensationalism. These are common enemies that directly inhibit the public understanding of science. In particular, the media is often responsible for mishandling or otherwise misrepresenting scientific information, historically and presently speaking. Many sources can combat the public understanding of science through pseudoscientific means. This includes but is not limited to religion, the media, politics, or just simple hearsay. For example, Young Earth creationism is deeply rooted in Christian theology, but the beliefs hold no scientific basis. Yet, almost half of Americans still believe in Young Earth creationism. Another such example is anti-vaccination campaigns due to fears of autism-spectrum related disorders. In this case, falsified claims were given illegitimate credibility through the media, and the claims are widely and erroneously contentious to this day. The purpose of this research was to investigate the relationship between an individual's ability to dictate science from pseudoscience and their exposure to sensationalized media. Through means of surveying the university level population, relationships were drawn between how many pseudoscientific beliefs an individual may have versus how they interact with science and the media. The results of the survey showed a general lack of interest or care for science with more pseudoscientific beliefs, yet failed to draw a relationship between pseudoscientific beliefs and a sensationalized media.

This thesis examines the element of translation of language and cultural memory in the work of contemporary artist Zineb Sedira, whose documentary-style video and photography installations are informed by her complex identity and geographical history, as the French-born daughter of Algerian immigrants who is now based in London. This project analyzes two of her early works, Mother Tongue and Mother, Father and I, to show how the role of translation and mediation in the transmission of memory and the representation of marginalized histories can be used to challenge a unidimensional, reductionist conception of identity rooted in geographic singularity. Through the translation of the “irrepresentable” nature of uprooted identities, Sedira's work questions such assumptions that influence our relation to space, origin, and history, undermining a mentality of exclusion that that contributes to the marginalization of migrant identities.

<p>This doctoral thesis discusses the competence structures and the development of human capital in the graphic arts and media sector. The study has focused on exploring the new media landscape and in particular the structural changes that influence the sector, the print-versuselectronic- media debate and the future of print media. The influence of new technologies and management concepts on the graphic arts and media sector has also been investigated, as has the role and the importance of people in new societal and industrial settings as well as new ways of managing and developing people in changing media environments. </p><p>The primary research objective was to identify the competence requirements and characteristics for existing and potential employees in the graphic arts and media sector and, in particular, the areas of digital printing and cross-media publishing. The second objective was to elucidate the various actions and strategies established and applied for the professional development of people in the graphic arts and media sector, such as further training, recruitment policies and the evaluation and certification of competence. The third objective of the study was to suggest the formation of a strategy for the professional development of people in the graphic arts and media sector – namely the creation of a human capital development strategy. An important issue was to identify the various components (or substrategies) of the strategy and determine if it was possible to integrate them under a common platform. </p><p>The work has been based on literature studies, industry reports and observations, market analyses and forecasts, and empirical studies. Participatory research methods have also been used. In addition, case-study research has been performed at the company and sector levels. Human resource management and development concepts have been surveyed to determine whether they are efficient for the professional development of people in the entire spectrum of an industry sector. </p><p>The graphic arts and media sector – including print media – will remain active for the foreseeable future; however, the results presented here show that the sector has been significantly influenced by structural changes that have taken place over the last decade, affecting organizations, companies and people involved in the sector, and this process of change will continue. </p><p>The study shows that there is indeed a need for new competence in people employed in or to be recruited to the graphic arts and media sector. The initial identification and description of the competences for the new structure of the graphic arts and media industry is proposed. Various actions for the development of people in the sector, mainly regarding education, further and continuous learning, and recruitment, are also identified. However, these activities have been established mainly at the national level by various organizations (educational institutes, industrial partners and the governmental/European Union authorities). </p><p>Finally, the principal characteristics of a human capital development strategy are described, and components (or substrategies) that form a strategy that could be introduced for the graphic arts and media sector in Europe are proposed. </p><p><b>Keywords: </b>Graphic arts and media sector, digital printing, cross-media publishing, human capital, intellectual capital, human resource management and development, human capital development strategy.</p>

In a traditional Middle Eastern society, men and women have been confined within society’s gender definitions. Those imposed social constructs condition men differently from women by dictating expected behaviors, establishing a hierarchy of gender positioning and enforcing definitions that limit abilities and potential. Based on postmodernist philosopher, feminist and social theorist, Simone de Beauvoir and postmodernist American philosopher and gender theorist Judith Butler, gender is not an inborn role, but rather created through stylized repetition of acts informed by society, named performative acts. For de Beauvoir and Butler, gender can never be a stable identity (Butler 1988). Informed by Butler’s phenomenological nature of gender constitution, this research explores the possibility of empowering Arab women in the workplace. Via an online platform called Kooni, the design aims to help women rethink the nature of gender and gender roles in the workplace and introduces the concept of performative acts as a role playing mechanism to induce change.

I use video and material fragments to investigate the collapse of virtual and physical spaces as memories, lived environments, and digital interfaces become overlaid and interchangeable. I am interested in the capacity for technology to propose alternative strategies in which to engage with the world as we continue to extend ourselves in new and enduring methods. Seemingly unremarkable fragments offer new potentials in questioning meaning, worth, and care within spaces of downtime, boredom, and play. This document accompanies my thesis exhibition a window the color of her sunburn. It provides background information on selected fragments and residues from my own life alongside philosophical and art historical research, which informs my exhibition.

An exploration of introversion and creativity through collage, digital assemblage, and curation

This dissertation examines fifteen films produced in seven political eras from 1926 thru 2008 in Soviet / Post-Soviet Russia. Its aim is to determine if the cinematic presence of Bakhtin’s ten signifiers of the carnivalesque (parody, death, grotesque display, satirical humor, billingsgate, metaphor, fearlessness, madness, the mask, and the interior infinite) increase in their significance with the historical progression from a totalitarian State (e.g., USSR under Stalin) to a federal semi-residential constitutional republic (e.g., The Russian Federation under Yeltsin - Putin). In this study, the carnivalesque signifiers act as a gauge of dialogism, the presence of which is indicative of some cinematic freedom of expression. The implication being, that in totalitarian States, a progressive relaxation of censorship in cinema (and conversely, an increase in cinematic freedom of expression) is indicative of a move towards a more representative form of governance, (e.g., the collapse of the totalitarian State). The fifteen films analyzed in this study include: Battleship Potemkin (1925), End of St. Petersburg (1927), Chapaev (1934), Ivan the Terrible, Part II (1946, released in 1958), Spring on Zarechnaya Street (1956), The Cranes are Flying (1957), Stalker (1979), Siberiade (1979), The Legend of Suram Fortress (1984), Repentance (1984, released in 1987), Cold Summer of 1953 (1987), Little Vera (1988), Burnt by the Sun (1994), House of Fools (2002) and Russian Ark (2002). All fifteen films were produced in the Soviet/Post-Soviet space and directed by Russian filmmakers; hence, the films portray a distinctly Russian perspective on reality. These films emphasize various carnivalesque features including the reversal of conventional hierarchies, usually promoting the disprivileged masses to the top, thus turning them into heroes at the expense of traditional power structures.

Images of nature and family comprise the gestural and abstracted interpretations of my life events. I use my photographs as inspiration for my work. I fuse layers of color, light, and line into glass and onto wood to suspend a personal memory. I want to capture those moments that flit by in life and envelop them in the media. In my fused glass work, I manipulate color, light, and line. In these pieces, I layer frits and sheets of glass onto an abstract sculpted relief of fiberglass and fuse them into one thick slab. The sculpted relief creates a textured deflection of light. In each layer of glass, I encapsulate simple line drawings of my family, elements of the landscape, and organic shapes. In my works on wood, I pour and layer transparent color using acrylic and a water-based polyurethane mixture. I do not fully cover the natural grain of the wood but allow it to contribute to the imagery. I repeat linear marks and create layers of texture using a palette knife, and attach mud and caulk to the natural surface. I further manipulate the surfaces by sanding and carving to express my emotions and memories. The layered media symbolically references layers of time in my personal journey.

Our everyday lives are surrounded by gadgets and digital devices that help us perform our daily chores with ease and efficiency. However, these digital devices can also separate us from what we should do ourselves. Although children who are exposed to high levels of technology might become attuned to the latest and the best gadgets, they might not learn to use their physical abilities. Another implication of a child’s over dependence on technology is that parental interactions such as encouragement, tutoring and reinforcement are provided by gadgets rather than living, breathing parents. Research done by Padma Ravichandran and Brandel France de Bravo, revealed the importance of child interaction with live people and games noting that “Very young children learn best by relating to real live people, but they also learn by moving and doing. Part of the problem with screen time is that young children who watch TV and DVDs or use computer games may be substituting these activities for free play”. The aim of this project is to reduce the gap between young children and the tactile world by creating toys that are attractive for the children, but are low-tech and involve parental interaction. Thus, the primary goal that this thesis seeks to achieve is the stimulation of children toward tactile games, while the secondary goal is to allow and encourage parental involvement in the playtime of the child. The research is guided by the premise that children can absorb substantial knowledge through the tactile world and that such tactile centered play will broaden the horizon of their knowledge and experience.

This essay was written largely after the completion of my thesis exhibition which shares its title. An integral aspect of the work was the after-­hours maintenance it required. Below I describe the unforeseen personal significance that labor came to hold and the way in which it functioned as a healing ritual. Through this work, and those leading up to it, I have a reinvigorated awareness of the importance of therapy as an aspect of my art­making, of which this thesis is a testament.