The twelve-tone serial technique was developed by Schönberg, to create structure within atonal compositions. The String Quartet by Graham Newcater is a serial composition and the tone row used in this work, consists of atonal qualities. The tone row consists of small intervals and chromatic notes and can therefore be classified as an atonal row. The writer was interested in the fact that Graham Newcater is a relatively unknown South African composer. In chapter 2, a short biographical overview explains how the serial technique took root in his compositions. He is the only South African composer that only composes music using the twelve-tone serial technique. The different types of twelve-tone rows are discussed and illustrated by music examples in Chapter 3. In chapter 4, the application of the serial technique in the String Quartet is illustrated. In addition, chapter 4 includes an investigation into total serialism. In Composers of South Africa Today, Mary Rörich states that Newcater makes use of total serialism in the String Quartet (Klatzow 1987:109). This implies that other aspects of the composition, like dynamics and rhythm, are also subject to serialism. It is found, however, that there is no correlation between these aspects (dynamics and rhythm), and the serial content of the String Quartet. This mathematically structured technique is taken even further in composing the first movement of the String Quartet in palindrome form. The palindrome is discussed in chapter 5, including examples of palindromes from works by other composers. The third movement of the String Quartet does not only form its own palindrome, but it is also an inversion of the palindrome in the first movement. Newcater writes the following about his use of the twelve-tone serial technique: At one level I view music as a scientific and technical job, an engineering design, if you like. A mystical relationship arises between the constituent notes of a row, which should be given free play and not inhibited or distorted by over-rigorous application of the system. The twelve-tone system brings about subtle weights of sound which would never occur otherwise…the twelve-tone system offers a divine relation. It is the source not only of music but of mystic truth. (Klatzow 1987: 106) / Dissertation (MMus)--University of Pretoria, 2014. / tm2015 / Music / MMus / Unrestricted

In the preface to this collection, "Poetry and History: Finding 'What Will Suffice,'" I show how Czeslaw Milosz's "Dedication" and Jorie Graham's "Guantánamo" embody the virtues of philosophical meditation and the moral imagination to create a unique poetry of witness. These poems also provide American poets with an example of how they can regain the trust of an apathetic general reading audience. Tinder for the Bathhouses is a collection of poems in which I use the moral imagination to indirectly bear witness to events as far ranging as the Holocaust and the Iraq War. Using the family as a foundation, I show how historical narratives can provide a poet with the tools to think about larger metaphysical questions that poetry can raise, such as the nature of beauty and the purpose of art.

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Mount Graham, in Southern Arizona supports valuable, ecological communities and at least one endangered species, the Mt. Graham red squirrel. The area is managed by the U.S. Forest Service. Elevation, dryness, sky clarity and freedom from light pollution at Mt. Graham make it a desirable site for astronomy. The University of Arizona presented a proposal to the Forest Service for the development of a multi-telescope observatory on the mountain. This has generated much controversy due to the opposition of environmentalists who fear the potential impacts of development on the mountain. Eleven potential sites for astrophysical development have been identified, with varying impacts on the ecosystem. They are ranked according to their suitability for development, using multiple criteria decision making techniques. The results are very consistent and robust, both within and across techniques and can be useful for decision support and conflict management purposes.

Este estudo buscou analisar a produção do artista norte-americano Dan Graham, enfocando a estreita relação que manteve com a arquitetura e a cidade ao longo de sua trajetória. Realizada em meios e suportes bastante diversiicados, a produção deste artista é bastante representativa do desenvolvimento da arte contemporânea a partir da década de 1960, marcado pela superação de códigos artísticos que culminaram com o rompimento dos limites ísicos dos museus e galerias. Através de intervenções em revistas, de suas performances e instalações, de seus recentes pavilhões de aço e vidro e de uma extensa produção de textos, Graham mobilizou conteúdos distintos provindos de campos como os da psicologia, do cinema e também da arquitetura para investigar a condição da arte, da cultura e das espacialidades na sociedade contemporânea. Por meio da justaposição entre suas obras e seus textos, onde lida mais explicitamente com questões exteriores à arte, torna-se possível identiicar a articulação entre a prática e o pensamento do artista, percorrendo de maneira mais aprofundada suas relexões sobre as estruturas sociais ou culturais operantes em contextos espaciais especíicos, seja dentro da galeria ou fora dela. Ao inal, espera-se que a síntese dessas questões permitam revelar os novos olhares construídos por Dan Graham sobre o campo da Arquitetura e Urbanismo, a partir de questionamentos que lhe são exteriores e que apresentam natureza distinta: suas propostas estéticas indagam as formas de produção da cidade contemporânea, sobretudo em relação à natureza cultural e social de seus espaços. / This study investigates the production of the American artist Dan Graham, focusing on the close relationship he mantained with the architecture and the city throughout his carrer. Held in very diverse mean and supports, the production of this artist is quite representative of the contemporary art development from the 1960s, marked by overcoming artistic codes that culminated in the disruption of physical boundaries behind museums and galleries. Through the interventons in magazines, performances and installations, his recent steel and glass pavilion and the extensive production of texts, Graham mobilized different contents stemmed from ields such as psychology, cinema and also the architecture to investigate the condition of art, culture and spatiality in contemporary society. By the juxtaposition of his works and his writings, which most explicity the deals with external issues to the art, it is possible to identify the articulation of Graham´s practice and thought, observing more deeply his relections on the social and cultural structures operating in speciic spatial contexts, either inside the art gallery or outside of it. At the end, it is expected that the synthesis of these isseus allow us to reveal the new perspectives built by Dan Graham on the ield of Architecture and Urbanism, pointing questions from a external and different nature: his aesthetical proposals inquire the contemporary city forms of production,especially in relation to cultural and social nature of their spaces.

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