Videopoetry about Czechoslovakia nowadays. Diploma thesis kombines text and video. Texts are based on theoretical axioms and native form of current czechoslovak language. Texts are matched with videosequences of prepared, performed situations and banal, private situations. It works also with themes of deconstruction and construction, which lead to subjective videopoetry.

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My investigation have been done in the field of architectural representation. The aim of this project was explore architectural imagery beyond the instrumental use of representation. With the intent to pursue the autonomy of image, but also the dependency of architecture of spectators and interpretations, myths and images.  My method is hand made drawings and an approach to image making in four parts. The steps are observation(to depict actual buildings), dissection(to break apart and to analyze), assembling( to modify, distort, put together) and immersion (make credible, make animate). The project relates to the built environment but is not meant as a proposal. In a series of drawings, I have tried to create a playful approach to the city and a site. As motifs and motivation I have studied three areas in the Stockholm: Södra stationsområdet, Skarpnäck and Starrbäcksängen. They were all residential areas constructed in the end of the 1980’s, beginning of 1990’s and are heavily influenced by postmodern ideals of reconstructing a pre-functionalist city. The method aims to extract details and aspects of the existing architecture and fitting it together, many times over, in order to inspire and produce imagery that are loaded with atmosphere and storytelling. In doing so trying to prove that images are never just instructional manuals in the hands of architects. And the potential that lies within this realization.

Looking at the transformation of Slakthusområdet in Stockholm, I aim to discuss and broaden the understanding of site. I aim to highlight the qualities of working with the already built environment when conducting new areas. How can new buildings be made in such a way that we feel like they belong to that specific site? Between notions of the living and the changing, as well as the protected and preserved, a tension arises that is worth investigating. With the aim of bringing life into older objects, constructions and places follows great challenges. How can both change and preservation be considered simultaneously?

This thesis supports the Master of Fine Arts exhibition at the Tipton Gallery, East Tennessee State University, from March 23rd through April 3rd, 2009. To comment on the title of my thesis, it describes an invented process created to re-contextualize failed paintings into works that critically comment on the discipline of painting itself. The paper describes and analyzes the conceptual moves created by a refusal to be satisfied with predictable outcomes in my work. At the end of this tumultuous quest to explore what painting is to me, the most rewarding works were a product of a reconfigured failure. This paper also briefly discusses a period in the history of painting that is particularly relevant to my work, influential artists that I have continually returned in admiration, and collage techniques and materials used to create my work. An explanation of my current body of work is given at the end.

I investigate the depths of memory, the entanglement of personal recollections with communal knowledge (learned semantic information from media and society such as facts and social norms) and the changing perceptions of environments over time. Memories define us. Throughout life we are exposed to vast quantities of imagery through a variety of media and personal experiences. Over time our firsthand experiences and what we witness in film, print, photography, and the internet become indistinguishable in our memory. My work recreates consequential scenes from my past through technical drawings and blended imagery while exploring the possibilities provided by the interaction of common knowledge and the ambiguous nature of memory.

When the Alligator Called to Elijah is a feature-length video conceptualized and constructed by Kate Shults in partial fulfillment of the requirements for earning a Master of Fine Arts in Entrepreneurial Digital Cinema from the University of Central Florida. The video is the result of an evolving exploration of the aesthetic capabilities of the digital image using Flip Video cameras, found footage and Final Cut Pro. Though originating as an experiment, When the Alligator Called to Elijah became a creation of motion collage with very specific production parameters. This thesis is a record of this video’s progression, from development to picture lock, taking it into preparation for exhibition and distribution.

In my drawings and animation, I create a representation of a culture that is instilled in me, yet foreign. The work is inspired from a childlike perspective to depict a personal primitive experience with the Korean culture. The subtleties of the animations are meant to reflect the quiet nature of Asian paintings and to allow the viewer to experience and interpret it as they choose. I want others to see without hearing words in an already noisy world.

This text outlines and applies a methodology for deciphering problems and producing new information by analyzing the artifacts produced by medical imaging technologies - text and images - using practices gleaned from Surrealists, semiologists, and visual artists, emphasizing its own form as being the product of the apparatuses that produce it and therefore untrustworthy. Its basic assumption is that every text contains the information necessary to solve problems of all sorts, though because of the limitations of this text in both form and authorial intellect, we may only reach a starting point for a solution herein. In this regard, we are deciphering rather than solving. Further, this text illustrates primarily through narratives how digital imaging technologies mediate our relationship with our doctors, illnesses, and our bodies. It explores how the artifacts produced by medical imaging technologies create a data stream that replaces the corporal patient, shifting the physician's focus from the whole body to pieces and parts. It is a study of texts and technologies. The method evolved from a rhetorical approach to examining the medical imaging artifacts and the processes by which those artifacts come into existence, with the method and form becoming part of the story, producing a wide array of new information that transcends disciplinary constraints.