This dissertation examines the work of artists Vija Celmins, Beryl Korot, and Lee Lozano. I illustrate how these underrepresented artists, working from the mid-1960s to the mid-1970s, used new technologies to develop the relationships between media and what I call the ordinary--elements of daily experience that form more of a chronicle than a narrative. In an effort to move away from the emotionalism of abstract expressionism and the rigidity of formalist painting, these artists experimented with photography, drawing, performance, and video art. New approaches to various media allowed artists to use facts, evidence, and data as an artistic refiguration of the experience of life. In Chapter 1, I study the early work of Vija Celmins to argue that her paintings and drawings engage data, a type of information that is verifiable and understandable in and of itself. Celmins depicts images through a translation of media, from the photograph to the carefully mapped out graphite drawing. Instead of producing meaning through narrative, Celmins engages the facts of our ordinary world by provoking the act of looking. In Chapter 2, I discuss the video installation Dachau 1974 by Beryl Korot. This multichannel video presents a concentration camp as an everyday tourist site, devoid of emotion. By reading Dachau 1974 alongside cybernetic theories by writers such as Norbert Weiner and Marshall McLuhan and by discussing the media of video at its earliest incarnation, I contend that this work approaches information directly as process. It is in the accumulation of imagery through the twenty-two minutes of the video that the viewer is able to discern the structure of the work and experience history in time. In Chapter 3, I examine the journals and art-life pieces of Lee Lozano. I argue that once data (Celmins) and processing (Korot) occur in information systems, so too does change. Lozano harnesses change in the embodiment of her life as work and in the creation of her constantly shifting identity as an artist. In my conclusion, I contend that while information may work within the realm of the everyday, ordinary life, its very existence allows for illumination. That is, the facts of the world rendered through information processing can be another artistic experience. / text

Both Joy Kogawa's Naomi Nakane and Sky Lee's Kae Ying Woo attempt to overcome silence and secrecy in order to reconstruct their families' histories, particularly their matrilinear histories. Their task is problematic: Naomi has no mother, and Kae has too many maternal figures battling for control. Both narrators approach their texts (and their searches for identity) with a degree of ambivalence. In Obasan, Naomi's uncertainty over the family identity she attempts to uncover manifests itself in the silences which pervade the text. Over the course of the novel, she pushes aside silence, in the process giving rise to two problematic issues at the work's centre: first, the adult Naomi who narrates must re-enter the experiences of her younger, silenced self; secondly, Naomi must overcome an oppressive silence in order to tell a story both centred around and driven by silence. / Whereas Naomi is reluctant to delve into her history, Kae is eager to recover what has been hidden from her. Instead of the numerous silences which pervade Obasan, Kae's growing ambivalence surfaces as narrative unreliability. Disappearing Moon Cafe is strongly mediated by Kae, who acknowledges the extent to which her authority is problematic; in reconstructing her past, she often reinvents it as well. / This paper explores the parallels between Naomi's and Kae's searches for family, and the ways in which similar journeys find radically different narrative expression. While the text of Obasan resists the tendency to inscribe the silences of its family narrative, Disappearing Moon Cafe battles its desire to fill in the blanks, to romanticize and invent.

This study examines why the Swedish sexual offences legislation is in need of adjustment. This study uses Carol Lee Bacchis’ method – “what’s the problem represented to be” – in order to analyze two of the three problem statements. The third problem statement is connected to Chantal Mouffes’ theory regarding depoliticisation. The empirical data includes two debates on the Swedish sexual offences legislation. The debates were conducted on May 22nd 2013 and May 27th 2014. The study concludes that the issue of consent is a reoccurring one in the debate regarding the sexual offences legislation, and the reason for continuous adjustment of the legislation is due to the perceived lack of enforcement. The study also shows that there’s a problem of sexual consensus in the legislation as political parties tend to argue for an enforcement of said legislation but subsequently voting against it. / Denna studie undersöker varför sexualbrottslagstiftningen behöver justeras. I studien används Carol Lee Bacchis metod ”what’s the problem represented to be” för att få svar på två av tre frågeställningar. Den tredje frågan är kopplad till Chantal Mouffes teori kring politik. Det empiriska materialet som används i studien är två debatter som diskuteras i riksdagen där sexualbrottslagstiftningen diskuterades. Debatterna genomfördes 22 maj 2013 och 27 maj 2014. Undersökningen visar att samtyckesfrågan är något som ständigt kommer på tal i debatten kring sexualbrottslagstiftningen och att anledningen till justeringarna i sexualbrottslagstiftningen beror på att lagen upplevs aldrig bli tillräckligt skärpt eller effektiv. Undersökning visar även att det råder en konsensusproblematik i sexualbrottslagstiftningen då vissa partier argumenterar för en skärpning av lagstiftningen men ändå vid röstningen röstar emot förslaget.

The interaction of tidal currents with Fraser Ridge in the Strait of Georgia, B.C., generates an internal lee-wave on each strong flood but, due to the ridge's asymmetry, not during ebbs. Just prior to lee-wave formation, a strong accelerated bottom jet forms with magnitudes up to 0.7 m s^-1 forms during barotropic tidal flows reaching 0.2 m s^-1. On the steepest slope, this jet forms directly above a rare glass sponge reef, and may prevent the sponges from being smothered in sediment by periodically resuspending and carrying it away. Both the accelerated jet and lee-wave remove tidal energy. At peak flood tide, the lee-wave has energy dissipation rates reaching 10^-5 W kg^-1 that removes energy at a rate of ~611 W m^-1, while the bottom boundary layer at the time of the accelerated jet has energy dissipation rates reaching 10^-4 W kg^-1 that removes energy at a rate of ~525 W m^-1. / Graduate

No description available.

Thesis (Ph. D.)--Bob Jones University, 1994. / Includes bibliographical references (leaves 266-292).

Thesis (M.M.) -- Florida State University, 2003. / Advisor: Denise Von Glahn, Florida State University, School of Music. Title and description from thesis home page (viewed 9-29-04). Document formatted into pages; contains 78 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (M.M.) -- Florida State University, 2004. / Advisor: Matthew Shaftel, Florida State University, School of Music. Title and description from thesis home page (viewed 12-14-04). Document formatted into pages; contains 90 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (doctoral)--Zürich. / Includes bibliographical references (p. 97).

Thesis (M.A.) in Liberal Studies--University of Maine, 2008. / Includes vita. Includes bibliographical references (leaves 55-56).