Transgressing the borders between politics and aesthetics, imaginary and physical forms, this dissertation pursues a broad interdisciplinary exploration of the construction of public space. In order to confront the dual character of public space – a physical realm with unclear borders, as well as an evasive concept, imbued with ideas of freedom, critique and democracy – the dissertation addresses public space as a ”medium”, that is, as a material for aesthetic practice and in terms of communication, as a “projective screen” of society. Using the refurbishment of Stortorget in Kalmar as its generative case, the dissertation examines the conditions for making and thinking such a space, whereby the hidden assumptions of public space are brought to the fore. Due to the hybrid character and complexity of the Stortorget project, carried out as a seamless collaboration between art and architecture, it in addition raises issues that are highly significative for the identity and legitimacy of the respective disciplines. Focussing on the concept of “place”, and tracing its role within art and architecture theory and practice since the paradigmatic shift between late modernity and postmodernity, the dissertation examines the conflictual relationship between art and architecture in order to gain an understanding of them as different, yet intimately connected, ways of producing new forms of reality. The claim made throughout the dissertation is that public space cannot be “reconstructed” on the basis of historical forms and ideals – rather it must be continuously reinvented in accordance with a critical understanding of democracy. Ultimately, the dissertation is an examination of how, and why, public space can be defended as an indispensible form of society and of the complex coalition of its aesthetical and political effects. / QC 20100824

The road to becoming an artist is paved with much confusion as we try to mold our brains into understanding abstract concepts and ideas. I became fascinated with how people perceive art, in particular, southern males that have no previous knowledge of art history or desire to learn. I contemplated long and hard about this and asked myself the question, “What if they did want to understand art?” The only difference between my brethren and I is this desire to pursue this seemingly foreign world. By creating an imaginary world and culture based on my own southern upbringing I have created a series of figurative paintings exploring various contemporary art themes in an effort to clarify my own understanding of the two worlds I am closest to and how they may or may not be related.

Dans Literal Meaning, François Recanati cherche à montrer que ce qui est dit lorsqu’une phrase est prononcée correspond à un contenu fondamentalement pragmatique. À cet effet, il propose deux arguments généraux qui consistent à faire valoir que ce qui est dit est indéterminé si l'on s'en tient aux règles de la sémantique. Le premier de ces deux arguments tente d’établir que dans bien des cas, le contenu sémantique supposément associé à une phrase ne correspond pas à ce qui est dit. Le second est plutôt une élaboration de la thèse wittgensteinienne suivant laquelle la signification des types linguistiques est indéterminée. Pour ma part, je soutiens que si nous adoptons effectivement une conception wittgensteinienne de la signification, certains des exemples supposés illustrer le premier de ces deux arguments peuvent et doivent être critiqués. / In Literal Meaning, François Recanati argues that what is said when a sentence is uttered corresponds to a content that is fundamentally pragmatic. To this end, he proposes two general arguments according to which what is said will be indeterminate if we stick to the rules of semantics. The first of these two arguments tries to establish that in many cases, the semantic content supposedly associated with a sentence does not correspond to what is said. The second one is rather an elaboration of Wittgenstein’s thesis to the effect that the meaning of linguistic types is indeterminate. As for me, I claim that if we indeed adopt a wittgensteinian conception of meaning, some of the examples that are supposed to illustrate the first of these two arguments can and should be criticized.

Thesis (MA (General Linguistics))--University of Stellenbosch, 2011. / Bibliography / ENGLISH ABSTRACT: This study deals with syntactic aspects of expletive daar (“there”) and dit (“it”) constructions in Afrikaans. Previous analyses of these constructions have mostly been of a non-formalistic nature (e.g. Barnes 1984; Donaldson 1993; Du Plessis 1977; Ponelis 1979, 1993). The present study investigates the properties of Afrikaans expletive constructions within the broad theoretical framework of Minimalist Syntax. Four recent minimalist analyses of expletive constructions in English, Dutch and German are set out, namely those proposed by Bowers (2002), Felser and Rupp (2001), Richards and Biberauer (2005), and Radford (2009). Against this background, an analysis is proposed of transitive, non-passive unaccusative, passive unaccusative, and unergative expletive constructions in Afrikaans. Throughout, the focus is on whether the devices available within Minimalist Syntax, and specifically the Expletive Conditions proposed by Radford (2009), provide an adequate framework in which the relevant facts of Afrikaans can be described and explained. Where required, modifications to the devices in question are proposed. / AFRIKAANSE OPSOMMING: Hierdie studie handel oor sintaktiese aspekte van ekspletiewe daar- en dit-konstruksies in Afrikaans. Vorige analises van dié konstruksies was grootliks nie-formalisties van aard (bv. Barnes 1984; Donaldson 1993; Du Plessis 1977; Ponelis 1979, 1993). Die huidige studie ondersoek die eienskappe van Afrikaanse ekspletiewe konstruksies binne die breë teoretiese raamwerk van Minimalistiese Sintaksis. Vier onlangse minimalistiese analises van ekspletiewe konstruksies in Engels, Nederlands en Duits word uiteengesit, naamlik dié wat voorgestel is deur Bowers (2002), Felser en Rupp (2001), Richards en Biberauer (2005), en Radford (2009). Teen hierdie agtergrond word ’n analise voorgestel van transitiewe, nie-passiewe onakkusatiewe, passiewe onakkusatiewe, en onergatiewe ekspletiewe konstruksies in Afrikaans. Die fokus is deurgaans op die vraag of die meganismes wat beskikbaar is binne Minimalistiese Sintaksis, en spesifiek die drie Ekspletiewe Voorwaardes wat voorgestel word deur Radford (2009), ’n toereikende raamwerk bied waarbinne die tersaaklike feite van Afrikaans beskryf en verklaar kan word. Waar nodig, word aanpassings aan die betrokke meganismes voorgestel.

Composer Michael Nyman wrote the one-act, minimalist opera The Man Who Mistook His Wife for a Hat, based off the neurological case study written by Oliver Sacks under the same title. The opera is about a professional singer and professor whom suffers from visual agnosia. In chapter 1, the plot and history of the opera are discussed. Chapter 2 places The Man Who Mistook His Wife for a Hat alongside a selection of minimalist operas from Philip Glass and John Adams. Chapter 3 contains a history of the Fluxus art movement and shows where Fluxus-like examples appear in the opera. Chapter 4 includes Nyman's usage of minimalism, vocal congruencies, and Robert Schumann as musical elements that convey the drama.

Philip Glass' Glassworks (1981) is a six-movement composition for two flutes, two soprano saxophones/clarinets, two tenor saxophones/bass clarinets, two French horns, violas, cellos, and the DX7 electric piano. Glassworks consists of six movements titled "Opening," "Floe," "Island," "Rubric," "Facades," and "Closing." This thesis covers the first movement "Opening." Repetition in musical minimalism confronts traditional prescriptive codes of tonal music and post-tonal music. While challenging the traditional codes, repetition in musical minimalism established new codes for listening to minimal music. This thesis explores the implications of these ideas.

This research examines the design of tiny homes and the importance they play in the lives of those that would usually have not been able to afford a house. The research will also focus on designing a tiny home with the use of design software to fully understand the extent of the characteristics of a tiny home. The design of these small dwellings, usually about 400-500 square feet, allows for a minimalist lifestyle that can be very low cost. The same materials that are used in traditional constructed homes are used for tiny homes because it makes them more durable and more valuable. Therefore, engineers and architects take great strides to think of clever designs for these small spaces to include everyday necessities while providing pleasing aesthetics. The popularity of tiny homes is rising, but they are still illegal in many parts of the country because they do not meet standard building codes. If further research is provided about the wonderful designs that these homes can provide, and the ways in which they give individuals a desired lifestyle, regardless of income, it could be possible that the flourishing tiny house movement could eventually lead to the legalization and legitimization of tiny homes nationwide.

Research on minimalism on the individual level shows the concept to be linked to ecological sustainability by applying methods such as reduction of consumption and valuing of product quality over quantity. In the fashion industry, concepts like ‘capsule wardrobe’ propose a reduced but high-quality, timeless wardrobe. It challenges the complex and fast-paced fashion industry with its numerous collections, overproduction and overconsumption. The application of minimalism on the business level in the fashion industry has not been researched yet. Therefore, we aimed to explore how minimalism is perceived and applied on the organisational level in the fashion industry and its contribution to ecological sustainability. Based on a developed theoretical framework and data gathered through eleven semi-structured interviews, a practical framework for minimalism as a business strategy is presented. It represents a value-based approach to business by incorporating customers, the organisation and the supply chain. Furthermore, organisational minimalism is not only efficiency-increasing and waste-reducing but also a way to do as little harm as possible, to consume critically while still operating in the existing system. The practical framework can be used to guide companies to implement minimalism as a driver for sustainability in business-making. With this outcome, we contribute to making the fashion industry more sustainable and reaching the Sustainable Development Goals 8, 9, and 12.

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This thesis is an examination of contemporary artist Mariko Mori's use of fashion in her work from 1993 to 2001. Contained within her sartorial phrasing is an involved relationship with the body, female and Japanese, as it exists within technological modernity. Tumult characterizes Mori's body as she images it early on in her career. This highly alienating space in which she positions herself gradually transitions to a space of respite for the performative body of another actor by 2001's Wave UFO. Wave UFO creates a mediated space for healing the modern body plagued with isolation through transcendence provided by technological means. Minimalist fashion, as a kind of plastic mechanization of corporeal experience, helps to accomplish this healing. Mori's Wave UFO attendant costumes present minimalist fashion as a location for reconciling spiritual identity in a postmodern age. The flat-panel costumes have the effect of disfiguring the bodies of the attendants into amorphous plasticized shells (much like the backdrop of the Wave UFO) and mechanizing the movements of the wearer. The sleek technological sensibility of the costumes, in conjunction with the stark sterility of the immersive Wave UFO interior, are the culminating expression of the ambivalent liminality Mori's body takes from 1993-1999. This is a body that floats between absence and presence, self and other. This thesis begins with a survey of Mori's 1990s work, including her 1994 self-portrait series that launched the artist into international recognition. The 1993-94 self-portraits present a playful mimicry and a self-aware exploration of regional dress as it is found on the streets of Tokyo. By the end of the decade the play shifts to minimalist self-denial that achieves a transcendence of the imaged body once grounded in the urban self-portraits. After exploring necessary and appropriate contexts of Japanese fashion and other cultural contexts, the thesis culminates in an extended analysis of Mori's 2001 Wave UFO installation. Mori's suggestion that technology can achieve transcendence of the body furthers the theorization that minimalist fashion overcomes the physical and ideological boundaries of human existence in a modern world.