Graffiti är en konstform som kan väcka olika associationer beroendepå dess kontext. Graffiti-begreppet är brett men förknippas oftast medvandalism. I olika sammanhang kan bilden av graffiti dock omformasfrån en rebellisk ungdomskultur till något som passar inom deexklusiva finrummen.Inom exempelvis modeindustrin och den postmodernistiska konstenfinns en del uttryck som kan komma att förknippas medgraffiti-estetisk genom dess expressionism och oordning. Genomhistorien har graffitin använts som uttrycksform av etableradekonstnärer vilket skapat nutidens konstbegrepp och gjort att graffitinblivit accepterad ur konstnärliga aspekter och tillgänglig för flermänniskor från olika bakgrunder att förstå sig på.Genom det moderna begreppet postmodernism behandlas i dennauppsats ämnet graffiti ur dess typiska visuella aspekter.Genom en en genomgripande bildanalys kan vi studera hur graffitinshistoriska och moderna element existerar inom dagens grafiska designinom modeindustrin och dess reklamutformning, I många fall går detatt se mönster av kopplingar till stil och tidsepoker.

Throughout the centuries artists have used art to express their identity. Art can be used as a tool to question stereotypes and conventions that shape our societies. Black artists emerging from the Civil Rights movements in America questioned social injustices and prejudiced violence that was targeted towards black people. Jean-Michel Basquiat (1960-1988) was an artist who went against the status quo of a predominantly white art world in America during the 1980s. Basquiat’s art presents a fragmented vision of a colonized” self” in search of reassurance for being a black man and artist during a time when black peoples right where less than equal.Considering recent historic events that has reshaped the conditions and rights that black people and other ethnic minorities hold in American society, it is only suitable to re-read Basquiat’s art all over again through a post-colonial perspective. This is done in order to seek answers to how colonialism and other forms of institutionalized racism has shaped the world. Whose results could prove beneficial for current discourses regarding society’s ethical and racial ethical dilemmas.

No description available.

Much has been said about what artists experience when they make visual art individually, but less has been said about what artists experience when they make art together. The study is based on the author’s perception, elaborated below, that artistic co-creation in the visual arts seems to be regarded as less valuable than individual artistic creation. To explore and richly describe the experience of artistic co-creation from the perspective of artists themselves, I initially invited three duos of artists to create visual art together in an experimental, time-bound co creation. After the onset of COVID-19, however, I amended the study by inviting participants to co-create art by virtually passing pieces of art to one another. I then interviewed them about their experience. Guided by a phenomenological approach, I conducted semi-structured interviews using questions sourced from the study purpose and related research questions. These interviews, held periodically through the co-creative project, sought to uncover the emergent themes of the experience of artistic co-creation. After reviewing the transcripts from these interviews, I created a representative written likeness of each duo experience, called a portrait, using the qualitative modes of portraiture. Six themes emerged from these portraits in the ways the artists reflected on their experiences of creating art together, including: moments of relationship and connection in the process of co-creation, the context and structure of the experiment, seeing experiences differently in the process of co-creation, finding agreements between the perspectives of the co-creators, developing creative rhythms based on temporal parameters, and learning in the partnership of the project. I did not begin this study with a formally-articulated conceptual framework, but I was influenced in my thinking by Basquiat and Warhol’s relationship and subsequent collaborative artworks. This research contributes to the literature in key areas by examining existing assumptions about the value of artistic co-creation in the visual arts.

Le présent mémoire est un texte d’accompagnement qui témoigne du développement de mon travail de recherche tout au long de mon parcours de maîtrise en arts visuels. Ce texte prend la forme d’un journal de bord qui aborde mon cheminement d’artiste d’une façon chronologique. Ce texte évolue au rythme des réalisations ponctuelles et des réflexions qui y sont liées. L’aboutissement prend la forme d’une synthèse par la mise en espace des meilleures expériences retenues durant mes études.

Prenant comme bornes chronologiques les grandes mutations que connait le paysage institutionnel français, ce travail analyse comment les lieux culturels deviennent un terrain d'action critique pour les artistes. La première partie montre qu'avec l'indexation de l'oeuvre sur le contexte les pratiques in situ sont l'aboutissement de la logique d'ancrage dans la société que les courants artistiques des années 1960 promeuvent. En proposant une généalogie de ces pratiques à partir des oeuvres de Jean-Michel Sanejouant, Mark Brusse et Daniel Buren, l'auteur défend l'idée qu'elles constituent un préalable nécessaire à la mise en cause des lieux culturels. La seconde partie engage une discussion des catégories établies par l'historiographie - majoritairement anglo-saxonne. Si les récits développés au sujet des notions "Site specificity" et d'"Institutional critique" informent la reflexion, il est proposé en retour de les réviser à l'aune du cas français, notamment de l'oeuvre d'André Cadere. La troisième partie aborde les rapports que les pratiques artistiques critiques entretiennent avec les mouvements contestataires : après les soulèvements de 1968, les lieux culturels deviennent de véritables espaces de protestation. En s'intéressant à une série d'évènements significatifs, tels que les Biennales de Paris de 1969 et 1971, l'exposition "72-72" ou l'ouverture du Centre Georges Pompidou, l'auteur explore les multiples positions et modes d'action critiques qui s'invitent sur le terrain des lieux culturels : vision réformatrice, activisme, pratiques artistiques critiques. Ce travail constitue ainsi une investigation sur les rapports entre mouvements sociaux et critique artiste dans la France des années 1960-1970 / Taking as chronological markers the major changes that the French institutional landscape experiences, this work analyzes how cultural places become a field of critical action for artists. The first part shows that with the indexing of the work on the context in situ practices are the result of the logic of anchoring in society that 1960s artistic movements promote. By providing a genealogy of these practices from the works of Jean-Michel Sanejouand, Mark Brusse and Daniel Buren, the auhor argues that they are a necessary prerequisite for the questioning of cultural venues. The second part undertakes a discussion of the categories established by the historiography - mainly Anglo-Saxon. If the stories developed about the concept "Site specificity" and "Institutional critique" inform the discussion, it was proposed in return for review in the light of the French case, especially the work of André Cadere. The third part discusses the reports that the critical artistic practices have with the protest movements : after the uprisings of 1968, cultural veneus become real protest sites. By focusing on a series of significant events such as the Paris Biennials of 1969 and 1971, the "72-72" exhibition or opening of thez Pompidou Centre, the author explores the multiple positions and modes of critical action that invite in the field of cultural venues : reforming vision, activism, critical artistic practices. This work is thus an investigation on the relationship between social movements and artist critic in France from 1960-1970

This thesis ventures into the world of twentieth century chamber music, specifically the trios written for flute, cello and piano. The first chapter discusses the history of the trio, tracing its development from the trio sonata of the Baroque Period to the accompanied sonatas and specifically the sonatas with flute and cello obbligato. Following the unpopularity of the genre throughout the Romantic period, its greater prominence in the Twentieth century is discussed, mentioning specific groups through whom the repertoire has been extended. Forty trios are grouped according to compositional styles. Six trios, each representing an example of a specific style period, have been selected for more detailed discussion, with particular reference to the various ways in which a sense of unity is achieved in each trio. The English composer Eugene Goossens uses impressionistic images, whole tone and chromatic scale patterns and other motifs to unify his trio: "Five Impressions of a Holiday". Nikolay Iosifovich Sil'vansky's "The Hedgehog and the Nightingale" is based on a Russian tale by Juri Jarmicha and uses a narrator. The three characters are represented by specific motivic and / or thematic material which is used throughout the trio. Günter Raphael's Trio-Suite op 44 is the only cyclic work unifying the two outer movements, without repeating any additional motivic material. Jean-Michel Damase condenses some of the material introduced in the opening Prelude in both the two Largo's and the two Arias in his "Sonate en Concert" of 1950. Karl Julius Marx builds his entire "Trio op 61" on a flexible six-note motif. Various movements in the trio" Vox Ba1aenae" by the American George Crumb are 1inked through the use of motives and characteristic instrumental colour. A comprehensive list of 180 twentieth century trios has been compiled, including details of dedications, commissions and first performances. 163 composers from twenty countries, are represented.

Title: Measurement of lower extremities spasticity in patients with cerebral palsy Objectives: The aim of the theoretical part of this thesis is to evaluate possibilities of lower extremities spasticity measurement in adult patients with cerebral palsy. The main focus was given to the concept of French professor J.-M. Gracies: Five- step clinical assessment in spastic paresis. This unique concept presents differentiation of three main factors of motor impairment that emerge as a result of a lesion to central motor pathways: stretch sensitive paresis, soft tissue contracture and muscle overactivity. Ability to distinguish these factors is crucial for specific treatment indication. Finding a correlation between the Five-step clinical assessment in spastic paresis and muscle activity in gait measured with polyEMG was the main objective in the practical part of the thesis. Methodology: This thesis has a theoretical-empirical character. The theoretical part is in a form of a research on the topic of spasticity diagnosis, focused on cerebral palsy patients. The empirical part of the thesis has a form of pilot quantitative research, which was attended by 6 participants with cerebral palsy (4 men and 2 women; average age 29 years). There were 2 independent measurement made for each of them. Each...

Cette thèse s’intéresse à la lisibilité de la littérature — à la lisibilité d’une certaine littérature : française, contemporaine, une littérature qu’on classe plus souvent qu’autrement du côté du champ poétique. Au départ, un simple constat : certains livres sont difficiles à lire. Parfois, on va même jusqu’à dire qu’ils sont illisibles; si ce jugement ne saurait fournir un concept rigoureux pour décrire les textes, il soulève toutefois un certain nombre de questions qui, elles, sont au cœur de cette thèse. Car il n’y a rien d’illisible en soi : l’illisible n’est pas une propriété, mais un jugement qui traduit une impasse de lecture. Ainsi, les verdicts d’illisibilités ont des causes et des conséquences très variées. L’illisible est situé : on peut difficilement l’aborder hors de ses circonstances, puisqu’il renvoie moins à un contenu spécifique qu’à une expérience. Il ne s’agit donc pas, ici, de lever l’incompréhension que l’on peut ressentir devant certains textes, mais bien d’interroger la place qu’elle occupe dans nos façons de lire et dans notre rapport à la littérature. Cette thèse se propose de réfléchir à ces questions en abordant, sous le mode du dialogue, les œuvres de Jean-Michel Reynard, Christophe Tarkos, Denis Roche, Anne-Marie Albiach, Jean-Marie Gleize, Christian Prigent, Valère Novarina et Pierre Guyotat. Ces œuvres n’occupent pas toutes la même place dans cette thèse. En ce sens, l’objectif n’est pas de les épuiser mais de soulever un certain nombre de questions à travers elles. Des questions différentes selon les œuvres, selon les écrivains, mais qui sont traversées par un même fil conducteur : l’expérience littéraire. À partir de situations chaque fois singulières, il s’agit ainsi d’éclairer certains aspects, certaines modalités de l’expérience littéraire. Les deux pôles de cette expérience sont ici l’écriture et la lecture, auxquelles il faut associer les figures de l’écrivain et du lecteur, qui occupent dans cette thèse une place centrale. La perspective est donc généraliste, qui soulève des questions tantôt poïétiques, axées sur la façon dont les écrivains vivent la genèse de leurs œuvres, et tantôt plus poétiques, voire politiques, qui renvoient plutôt à la façon dont les lecteurs font à leur tour l’expérience de ces textes à la singularité parfois radicale. En somme, les objectifs de cette thèse sont : 1) d’éclairer sous un nouvel angle les œuvres étudiées; 2) à travers leur exemple problématique, de poser les bases d’une réflexion sur la lisibilité, qui accorde une large place à la posture des écrivains et à la façon dont ils vivent la genèse de leurs œuvres; et 3) de contribuer aux études sur la genèse, la réception et la médiation des œuvres littéraires en réfléchissant à nos façons de vivre (avec) la littérature. / This dissertation focuses on the readability of literature—on the readability of a certain literature: French, contemporary, a literature that is more often than not classified in the poetic field. At first, a simple observation: some books are difficult to read. Sometimes we even get so far as to say they are unreadable; if this judgment cannot provide a rigorous concept to describe the texts, it nevertheless raises a number of questions which are at the heart of this dissertation. For there is nothing unreadable in itself: the unreadable is not a property, but a judgment that translates an impasse in reading. Thus, the verdicts of unreadability have varied causes and consequences. The unreadable is situated: it is difficult to approach it outside of its circumstances, since it refers less to a specific content than to an experience. The objective here is not to alleviate the misunderstanding that can be felt in front of certain texts, but rather to question the place it occupies in our ways of reading and our relation to literature. This dissertation proposes to reflect on these questions by approaching the works of Jean-Michel Reynard, Christophe Tarkos, Denis Roche, Anne-Marie Albiach, Christian Prigent, Valère Novarina and Pierre Guyotat. These works do not all have the same place in this dissertation. In this sense, the aim is not to exhaust them but to raise a number of questions through them. Different questions according to the works, according to the writers, but which are crossed by a common thread: the literary experience. From singular situations, the goal is thus to understand certain aspects, certain modalities of the literary experience. The two poles of this experience are writing and reading—related to those are the figures of the writer and the reader, which occupy an important place in this dissertation. Therefore, the perspective is broad, which raises questions sometimes of poietic, centred on the way writers live the creation of their works, and sometimes more of poetic, even politic, which rather refer to the ways in which readers, on their side, experience these radically singular texts. In short, the objectives of this dissertation are: 1) to study these works from a new angle; 2) through their problematic example, to lay the foundations for a reflection on readability that gives a large place to the writers’ posture and the way they live the creation of their works; and 3) to contribute to studies on creation, reception and mediation of literary works by reflecting on our ways of living (with) literature.

Title: The effect of progressive static stretching on treatment of spastic paraparesis in patients with cerebral palsy Objectives: The goal of this dissertation is to evaluate the effect of progressive static stretching on treatment of spastic paraparesis in patients with paraparetic form of cerebral palsy (CP). Elements chosen for the treatment were those of the therapeutic concept Guided Self-rehabilitation Contract by French professor Jean-Michel Gracies, which is presented in detail in the theoretical part of the dissertation. Methodology: This dissertation has a theoretical-empirical character. First theoretical part of the dissertation is in a form of a research on the topic of spasticity and diagnosis and treatment of spastic paresis according to the concept of J.-M. Gracies. Second experimental part of the dissertation evaluating the effect of the selected treatment for spastic paresis in people with cerebral palsy, has a form of pilot qualitative research, which was attended by 6 participants. At the beginning of the research each participant has undergone an entrance examination that evaluated spasticity using at first an unique assessing protocol Five step clinical assessment and consequently a surface electromyography. Based on this examination, each participant was instructed to follow...