What started as an exploration of the relationship between collage and architecture, developed into a tower of separations and ambiguities, separation of rooms and objects, ambiguity of meaning and placement. What started as a secluded room in the forest, developed into a tower that secludes itself and its rooms. The thesis is process and finality, always changing, always complete. The object is shelter of object. The purpose is to contain both material things and purpose. / Master of Architecture

Paper material is in some contexts considered basic and unsophisticated, however designers and artists often approach the well-known material and explore the expressional value of paper craft. This work aims to investigate an alternative process of making dress, by using paper as material to interpret wearing in order to highlight the making process in the result, through the diverse properties of paper sheets and binders.  The series of examples in ‘Paper Wear’ suggests an alternative language in form and expression and the investigation has given a further understanding of dress and the importance of experimental design thinking, as well as a deeper understanding of the role of the human body in dress. The outcome of the investigation creates a tension between a well-known material used in the process of making and the finished result, challenging traditional garment conventions and how garments are perceived in relation to material, function and body.

My thesis investigates some of the conceptual ideas related to my studio work, both in terms of theory and contemporary practice. This thesis focuses how the visual images formally operate, as well as the larger framework of discourse that surrounds my practice. In my work, the habitual, incessant process of cutting and extraction and the subsequent meticulous reconfiguring use the strategies of repetition and labor. These sustained, ongoing acts have the possibility to be generative or transformative rather than simply repetitive. This thesis also explores the found object, complicating the classification and knowledge systems of the source image with odd juxtapositions and reconfigurements. This body of work presents and develops several contradictions: the gimmick or lure of the initial appearance versus the underlying reality; the paradox between the promise of beauty or pleasure, and the sense of antagonism or disruption embedded in these images.

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This paper discusses the twentieth century American artist Frederick Sommer (1905-1999) and a subject that concerned him throughout his career: the image of the body. From his visceral photographs of the late 1930s to the finely organized anatomical collages of the 1990s, Sommer engaged the image of the body as primary subject matter. Sommer’s revisioning of the body—earth, animal, and human—characterized his life’s work, informed his most striking imagery, and enabled the realization of his aesthetic achievement. The centrality of the body throughout Sommer’s oeuvre, as primary visual material and organizational metaphor, is the theme of this study.

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This dissertation examines the linear sequence of segments in musical collages composed by John Zorn between 1988 and 1993. In addition to the use of processes and associations as unifying elements, these pieces present hierarchical organization and narrative structure. The presence of form and narrative in these works illustrates the capacity of postmodern music to be unified in novel and idiosyncratic ways. I examine Zorn's collage pieces using an adapted methodology of paradigmatic analysis and incorporate ideas of musical topics as signifiers of delineation in the works. The segmentation of these works, begun in chapter three, reveals a hierarchical organization where individual musical blocks are organized into larger structures that I call collage phrases. This reveals the presence of hierarchical form in the musical surface, showing that organization in the pieces is not limited to background processes. The collage pieces that utilize this structure are described as exhibiting episodic collage form. Collage phrases in such pieces may also be further grouped together into larger units. I examine narrative in the pieces through the idea of idiolects, which I conceive of as approaches and compositional philosophies that are identified through the careful examination of Zorn and his music. Chapter four examines how linear narrative in Zorn's string quartet Cat O'Nine Tails relates to an idea of visual organization that connects to his conception of cartoon music. Chapter five examines how Zorn's album Radio is organized through the idea of the "musical game," a concept in which borrowed materials and techniques are combined with Zorn's musical persona. Songs on Radio reflect this concept progressively over the course of the album. This study reveals several things about Zorn's music and about musical postmodernism. First, it illustrates the organization of the musical surface of these works. Second, it highlights linear musical narratives in the pieces. These elements of linear organization operate alongside other non-linear structures in Zorn's music. Finally, it demonstrates the capacity of postmodern music to contain innovative approaches towards musical organization.

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