The conceptual space formed by the experience of being in-between cultures is a fluid one. The boundaries of this space resist being fixed or defined, as experiences of cultural dislocation vary from person to person and alter over time. It is in this space that my project is located, and that my research seeks to explore. / Thesis (MVisualArts)--University of South Australia, 2001.

Craft's role in its traditional sites is changing. Using Actor-network theory the thesis explores this contention in three sites of craft representation, a craft organisation, a university craft workshop and a craft exhibition. It was found that although craft remained in the operations and practices of these sites it was transformed contextually to perform roles beyond the skills of the hand and the material limits of the object. The research, summed up as The Hidden Hand and the Fluid Object, is significant for craft organisation, craft education and museum administration. The thesis also expands the applications of Actor-network theory as a research tool beyond its roots in science. / thesis (PhDEducation)--University of South Australia, 2004.

Thesis (M.A.)--University of Waikato, 2006. / Includes bibliographical references (leaves 75-81) Also available via the World Wide Web.

Thesis (Ph. D.)--University of Sydney, 2008. / Title from title screen (viewed Apr. 9, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Performance Studies, Faculty of Arts. Includes bibliographical references. Also available in print form.

Thesis (M.A.)(Hons)--University of Western Sydney, Nepean, 1995. / Includes appendices. Includes bibliography.

Thesis (Ph. D.)--University of California, Santa Cruz, 1995. / Typescript. Includes bibliographical references (leaves 342-352).

Thesis (MTech (Design)--Cape Peninsula University of Technology, 2016. / The research was motivated by my lived experience in the Olifants River community of Namaqualand. In this community there are many diverse ethnic and social groupings with considerable potential to contribute to indigenous knowledge and creative practices. These groupings are, however, fragmented, with no platform for their varied and rich cultural assets to be displayed and acknowledged. In addition, the research was motivated by the call for a platform for the arts in the region. It is argued that visual art practice is an instrumental tool in the advancement of both creativity and social cohesion in this community. The research commenced with a pilot study, comprising workshops, which were run by art practitioners from various sectors in the region. Primary literature that influenced the emerging research design was that of Solomon (2007) as well as the holistic cultural viewpoints of Schafer (2014). The organic process of qualitative research methods as described by Ellingson (2009) was a natural personal directive. Body mapping was used during a preparatory phase that led to the creative exploration of community members’ own identity. Storytelling and dance were included in the design methodology since they enabled a psychosocial process of validating art practice as an economic asset within the community as well as enhancing social cohesion in the community. Crystallisation methods implemented in the process-driven body map workshops were held for grassroots -, town – and township sectors in the Olifants River valley. Each of the workshops comprised ten participants who were invited to participate in a subsequent do-designed collaborative event.

On Monday August 29, 2005, Hurricane Katrina made landfall in Southeast Louisiana bringing with it destruction to much of the Gulf Coast. While New Orleans, one of America's most culturally and artistically significant cities, was spared a direct hit, the subsequent flood devastated much of the city, home to many musicians. The devastation and stress from the storm established a situation and a motivator for creative response, and this dissertation illustrates that the music these musicians produce is a manifestation and continuation of New Orleans' cultural atmosphere. The city's historical allowance and celebration of freedom of expression permits New Orleans' current musicians to be innovative and responsive to the events surrounding the disaster. This project, designed as a qualitative research study, identifies four professional musicians who are established in the musical environment of New Orleans. To illustrate the depth of tradition and experimentation that their music evokes, the music of post- Katrina New Orleans is given historical contextualization and set in comparison to music that was inspired by a past catastrophe, the 1927 flood. Through the holistic exploration of the present circumstances of these four musicians, it becomes clear that New Orleans remains a place that is extremely open to change and that experimental music flourishes at the same time that traditional jazz lives on through new performers, who walk in the footsteps of legends. From interviews conducted with these four individuals, as well as other on-site observations, the emotional, physical, and financial effects of Hurricane Katrina are identified and recorded. / Central to this study is the author's own knowledge of music and experience in musical dialogue - it is through the interaction of the author and the subjects that important events and characteristics, which could be documented, actually emerged.This project reveals the influence that the storm has had on the individual musician and it demonstrates that while all four musicians are caught up in the whirlwind of recovery in New Orleans, their music remains rooted in the fundamental characteristic that is associated historically with New Orleans' music, improvisation. By the same token, it also shows that while each person may have had to suffer the same conditions, the musical response from each musician was unique. / by David Bethea. / Thesis (Ph.D.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

In contemporary life, more and more people move to live in urban city. Urban life is drastically different from rural life. In urban city, works are highly diversified and repetitive; people are fast-paced, efficiency-oriented and packed in very limited space for movement. The mode of living is tailor-made to the development of the city instead to the individuals who are living in it. Unsurprisingly, 100% of Hong Kong population is living in the urban area. Everyday we are trapped in this mismatch setting of time and space. It is the repressed emotion and desire that revealed by the miscommunication and disconnection among crowds of people, fostered and nurtured the unique practice of Hong Kong Artists. / In this essay entitled Fill in the Blanks - Art of the Disconnection in Urban Daily Life, I attempt to rethink and present an overall image of the body of my artistic work, while studying a series of theoretical and artistic references from the field of contemporary art and cultural studies. / This essay is divided in three main sections: the transformation from observation in urban daily life to conceptualization, the struggle between the artistic intention to execution in specific medium and the conveyance of meanings in artwork by the artist to audience comprehension and interpretation. It also includes the reflections on my thesis work We each walked 2000 kilometers to say good-bye. Through this exegesis, I would like to bridge the ‘blanks’ between my artistic practice, academic studies and daily life experience to draw a bigger picture, in the hope that my works could trigger more possibilities of discussion and interpretation. / Fong, Sum Yu. / Thesis (M.F.A.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leave 34). / Chapter 1 --- Introduction --- p.4 / Chapter 1.1 --- The blanks / Chapter 1.2 --- Fill in the blanks / Chapter 1.3 --- In Urban Daily Life / Chapter 1.4 --- Art of Disconnection / Chapter 2 --- Observation to Conceptualization in urban daily life --- p.12 / Chapter 2.1 --- Literature Review: Marvel of a Floating City / Chapter 2.2 --- Literature Review: Man of the Crowd / Chapter 3 --- Intention - Conveyance Interpretation --- p.17 / Chapter 3.1 --- Rational against Emotional / Chapter 3.2 --- Work Example: The Memory Series / Chapter 4 --- The Medium and its application --- p.23 / Chapter 4.1 --- The Documentary Value / Chapter 4.2 --- Personality in Working with Video / Chapter 4.2.1 --- Points of Concern and Ways of Presentation / Chapter 4.2.2 --- Montage / Chapter 5 --- Final Work: Love and Story --- p.31 / Chapter 5.1 --- Previous Related Work: Writing to reach you / Chapter 5.2 --- We Each Walked 2000 kilometers to say good-bye / Chapter 6 --- Conclusion --- p.33

A Research Report submitted to the Department of History of Art, Faculty of Humanities, University of the Witwatersrand in partial fulfilment of the requirements for the Degree of Master of Arts, 2016 / Statistics indicate that over the past 16 years (since the year 2000), there have been over 30 black lesbians in South Africa, who have been victims of rape (and in some cases, brutal murder as well) as a result of homophobic violence, which is aimed at “curing” lesbians of their homosexuality. The aim of this research report is to examine how activist methods, such as art exhibitions and public performances, are challenging homophobic violence. The report explores the effectiveness of activist artworks (which include public performances and works by South African artists Zanele Mutholi and Gabrielle Le Roux) in raising awareness and educating South Africans about homophobic violence, which is a daily reality for many members of the South African LGBTQ community. For the purpose of this report, the Queer and Trans Art-iculations exhibition, which was held at the Wits Art Museum (WAM) in 2014, is compared to the annual Johannesburg Pride parade of 2012. These events are analysed in terms of their effectiveness in creating awareness about homophobic violence and how they can improve on being more informative and effective in the future. The importance of this research is to add to the existing body of work around art activism as it explores the ways in which activist artists attempt to make social and political change regarding the South African LGBTQ community. / MT2017