This report is an in-depth analysis of the media coverage of the 1999 collapse of the Texas A&M Bonfire. The report also provides insight, through extensive interviews with journalists involved in the coverage, of how reporters handle the personal emotions associated with tragedy reporting. Through the interviews, I paint a picture of what it was like to arrive on the scene in College Station on Nov. 19, 1999 and detail some of the different strategies and philosophies journalists used to cover the event. The final part of the report is dedicated to exploring the relationship between media and communities in tragedy. The Bonfire collapse and the Columbine school shootings in Littleton, Colo., serve as case studies to analyze the effect of media on a community and vice versa. To conclude, the report attempts to paint a picture of the reality of the Bonfire coverage – its difficulties, its successes and, in some areas, where the media failed. / text

This dissertation analogically applies a framework of minor literary analysis to uniquely political units of the built environment. As urbanism is conventionally understood to be executed per the greatest utility of established communal objectives, an underlying politicization is inherent as such forms must adhere to dominant norms of development which potentially marginalize those who practice cultural methods outside normative standards. Employing a uniquely architectural method of environmental justice advocacy, select communities facing disenfranchisement react by self-producing urban-architectural forms ("UAFs") to protect threatened cultural values from marginalization. Installed to subvert the existing power dynamic, such UAFs are potential exhibitions of minor architecture. Adopting the analytical standards established by Gilles Deleuze and Felix Guattari for evaluating Franz Kafka's literature, this paper tests six UAFs to discover if a minor architecture is possible under contemporary globalization. Employing an enumerated framework of minor production characteristics, an interpretive-historical analysis is the primary method of judgment regarding each unit's execution of minor architecture. Two secondary tests are undertaken to validate the primary findings, the first of which is a physio-logical evaluation that characterizes and measures urban resource utility as per collective minority aims. Second, a newspaper correlation test is undertaken so as to judge the enunciative effectiveness of each community per issues of minority politics. Of the six cases examined, two have their source in cinema including "Bartertown" of MAD MAX BEYOND THUNDERDOME (1985) and the "House on Paper Street" of FIGHT CLUB (1999). The four remaining cases include the Tibetan Government-in-Exile of Dharamsala, India; Student Bonfire of Robertson County, Texas; Isla Vista Recreation & Park District of Santa Barbara County, California; and the Emergent Cannabis Community of Arcata, California. Of all the cases studied, only the Tibetan Government-in-Exile met both the conditions of minor architecture and was validated in terms of practiced urban resource use as well as effective representation in mainstream newsprint. Both cinematic cases failed as minor productions of the built environment. Although they did not find full validation, the three remaining real-world UAFs each were found on a course of minor architectural expression at varying stages of execution.

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A cerâmica encontrada no sítio arqueológico Cerâmica Preta, localizado entre Camanducaia e Itapeva, Sul do Estado de Minas Gerais, Brasil, apresenta marcas negras de redução que levaram o autor a formular a hipótese sobre uma técnica específica de queima utilizada por aquele povo que habitou o local preteritamente. O conjunto de fragmentos e as marcas neles encontradas representam os remanescentes de uma técnica morta de cerâmica preta, praticada com maestria e regularidade intencionalmente pelo povo que o produziu. A queima da cerâmica, assim como seu uso ao fogo, deixam marcas de diferentes cores e características nas peças submetidas a estes processos. Relata-se aqui a pesquisa de correlatos entre estas marcas, os processos e comportamentos em que esta coleção de fragmentos cerâmicos arqueológicos participou durante sua produção e uso, sua história de vida. Os parâmetros da arqueologia experimental, com base na teoria comportamental, orientam o desenvolvimento dos experimentos sobre as técnicas da queima redutora em fogueiras. Apresento uma análise do material encontrado no sítio Cerâmica Preta em coletas sistemática e assistemáticas, tendo como foco a marcas de queima, buscou-se reproduzir a morfologia e colorimetria para se entender as condições de sua formação através de experimentações em laboratório e em campo. Obtivemos resultados nas experimentações que foram compatíveis com a amostragem arqueológica tendo sucesso em reproduzir condições de queima, investigando o papel das diversas técnicas possíveis para a situação. Conclui-se, pelos correlatos levantados que as ceramistas que viveram no local do sítio praticavam uma determinada tradição técnica de queima de cerâmica que envolvia o uso de recipientes para conter atmosferas redutoras no sentido de produzir uma cerâmica extremamente reduzida de tamanho pequeno a médio e tendo como produto paralelo uma cerâmica reduzida internamente de maiores proporções que serviu de ferramenta na produção da cerâmica preta. O material arqueológico também indica a utilização de uma segunda técnica de queima que difere da primeira principalmente na forma de colocação das peças na fogueira para a queima. Outras marcas encontradas no material arqueológico sugerem que um tipo de queima seria utilizado especificamente para os vasilhames utilizados como panelas e outro para vasilhas e potes de armazenamento. A ligação encontrada entre as marcas de queima e a utilização posterior dos potes leva a proposição de uma ligação estreita entre a técnica de queima e a cosmologia destes povos. O simbolismo das cores resultantes e das superfícies coloridas remetem ao universo feminino, ao útero que gera a vida, ao pote negro e à inserção desta cultura na ordem do mundo em uma camada entre o telúrico e o celeste. / The ceramic artifacts found in Cerâmica Preta archaeological site, situated at Camanducaia and Itapeva county, at southern Minas Gerais State, Brazil, show reduction marks that led the author to formulate an hypothesis about a specific technique of reducing firing of ceramics, used by the people who lived in this site preteritally. The black marks on the ceramic fabric and the black sherds, are remains of a forgotten technique of black pottery practiced intentionally and skillfully by the people who lived in this site preteritally. Firing of the ceramic and its use on the bonfire as pans, leaves different color and characteristic marks on the tissue of the pieces submitted to these processes. The search for correlates between these marks, processes and behaviors lead to the inference of activities in which the artifacts took part during its production and use. The Experimental Archaeology parameters, based on the Behavioral Theory, guided the development of the experiments on techniques of reduction firing in bonfires. The analisys of the material found in the ceramic site, by systematic and unsystematic search, focusing on the burning marks of which, through laboratory and field experiments, aim to reproduce the morphology and colorimetry, in the way to understand the conditions of its formation. The results of the experiments were compatible with the archaeological sampling and successfully reproduced burning conditions with similar results. The research investigated the role of various possible conditions for the production of black pottery. The correlates found by the research, lead to the conclusion that the ceramists, who lived in the site preteritally, practiced a certain technical tradition of ceramic firing, wich involved the use of containers to retain reducing atmospheres, in the sense of producing an extremely thin black ceramic of small to medium size. This firing has as parallel product, an internally reduced ceramic of greater proportions that served as a tool in the production of black pottery, a sagar. Archaeological material also indicates the use of a second firing technique which differs from the first one mainly in the way the parts are placed in the bonfire, but also in its production and use. Other marks found in archaeological material suggest that the people who practiced this tradition used the pots of one kind of firing as pans and diferent ones for consuming and for storage pots too. The connection found between the firing marks and other, dued to the later use of the pots over the fire, leads to the proposition of a close connection between the burning technique and the cosmology of these peoples. The symbolism of the resulting colors and colored surfaces refers to the female universe, the life-giving uterus, the black pot, and the insertion of this culture into the order of the world in a layer between the tellurian and the celestial.

A cerâmica encontrada no sítio arqueológico Cerâmica Preta, localizado entre Camanducaia e Itapeva, Sul do Estado de Minas Gerais, Brasil, apresenta marcas negras de redução que levaram o autor a formular a hipótese sobre uma técnica específica de queima utilizada por aquele povo que habitou o local preteritamente. O conjunto de fragmentos e as marcas neles encontradas representam os remanescentes de uma técnica morta de cerâmica preta, praticada com maestria e regularidade intencionalmente pelo povo que o produziu. A queima da cerâmica, assim como seu uso ao fogo, deixam marcas de diferentes cores e características nas peças submetidas a estes processos. Relata-se aqui a pesquisa de correlatos entre estas marcas, os processos e comportamentos em que esta coleção de fragmentos cerâmicos arqueológicos participou durante sua produção e uso, sua história de vida. Os parâmetros da arqueologia experimental, com base na teoria comportamental, orientam o desenvolvimento dos experimentos sobre as técnicas da queima redutora em fogueiras. Apresento uma análise do material encontrado no sítio Cerâmica Preta em coletas sistemática e assistemáticas, tendo como foco a marcas de queima, buscou-se reproduzir a morfologia e colorimetria para se entender as condições de sua formação através de experimentações em laboratório e em campo. Obtivemos resultados nas experimentações que foram compatíveis com a amostragem arqueológica tendo sucesso em reproduzir condições de queima, investigando o papel das diversas técnicas possíveis para a situação. Conclui-se, pelos correlatos levantados que as ceramistas que viveram no local do sítio praticavam uma determinada tradição técnica de queima de cerâmica que envolvia o uso de recipientes para conter atmosferas redutoras no sentido de produzir uma cerâmica extremamente reduzida de tamanho pequeno a médio e tendo como produto paralelo uma cerâmica reduzida internamente de maiores proporções que serviu de ferramenta na produção da cerâmica preta. O material arqueológico também indica a utilização de uma segunda técnica de queima que difere da primeira principalmente na forma de colocação das peças na fogueira para a queima. Outras marcas encontradas no material arqueológico sugerem que um tipo de queima seria utilizado especificamente para os vasilhames utilizados como panelas e outro para vasilhas e potes de armazenamento. A ligação encontrada entre as marcas de queima e a utilização posterior dos potes leva a proposição de uma ligação estreita entre a técnica de queima e a cosmologia destes povos. O simbolismo das cores resultantes e das superfícies coloridas remetem ao universo feminino, ao útero que gera a vida, ao pote negro e à inserção desta cultura na ordem do mundo em uma camada entre o telúrico e o celeste. / The ceramic artifacts found in Cerâmica Preta archaeological site, situated at Camanducaia and Itapeva county, at southern Minas Gerais State, Brazil, show reduction marks that led the author to formulate an hypothesis about a specific technique of reducing firing of ceramics, used by the people who lived in this site preteritally. The black marks on the ceramic fabric and the black sherds, are remains of a forgotten technique of black pottery practiced intentionally and skillfully by the people who lived in this site preteritally. Firing of the ceramic and its use on the bonfire as pans, leaves different color and characteristic marks on the tissue of the pieces submitted to these processes. The search for correlates between these marks, processes and behaviors lead to the inference of activities in which the artifacts took part during its production and use. The Experimental Archaeology parameters, based on the Behavioral Theory, guided the development of the experiments on techniques of reduction firing in bonfires. The analisys of the material found in the ceramic site, by systematic and unsystematic search, focusing on the burning marks of which, through laboratory and field experiments, aim to reproduce the morphology and colorimetry, in the way to understand the conditions of its formation. The results of the experiments were compatible with the archaeological sampling and successfully reproduced burning conditions with similar results. The research investigated the role of various possible conditions for the production of black pottery. The correlates found by the research, lead to the conclusion that the ceramists, who lived in the site preteritally, practiced a certain technical tradition of ceramic firing, wich involved the use of containers to retain reducing atmospheres, in the sense of producing an extremely thin black ceramic of small to medium size. This firing has as parallel product, an internally reduced ceramic of greater proportions that served as a tool in the production of black pottery, a sagar. Archaeological material also indicates the use of a second firing technique which differs from the first one mainly in the way the parts are placed in the bonfire, but also in its production and use. Other marks found in archaeological material suggest that the people who practiced this tradition used the pots of one kind of firing as pans and diferent ones for consuming and for storage pots too. The connection found between the firing marks and other, dued to the later use of the pots over the fire, leads to the proposition of a close connection between the burning technique and the cosmology of these peoples. The symbolism of the resulting colors and colored surfaces refers to the female universe, the life-giving uterus, the black pot, and the insertion of this culture into the order of the world in a layer between the tellurian and the celestial.

My degree project aims to find an alternative destiny to the city glitches- the forgotten industrial buildings which are constantly being torn down. All the memories, the urban creatures that nest inside them, are considered disposable in city planning. The aim of this project is not to stop urban development but to create spaces where this endless force magically stops, a bubble of “utopia”, where the urban beings take their own time to flourish, undisturbed. I focus my project on the abandoned factory house Nitrolackfabriken in the southern part of Stockholm, a building threatened with demolition. I went through three stages in the design process: first background research, second a design proposal about turning the building into a functional culture house, and lastly landed on a design intervention where I gave up the previous culture house proposal, refused it on behave of the building itself, and gave the house back to what is already inside. I created three design interventions in this new part of the project: the garden, the pond, and the fire room. I see the building and all the small beings nesting inside as part of an intertwining relationship, a living being, a “GIANT.” I abstracted her into a human-like shape, wishing to create an emotional resonance between the GIANT and us. To remind us that we are all part of this complexity.