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In his Southern Harmony collection, William Duckworth extracts existing material from shape-note hymns found in William Walker's 1835 publication A Southern Harmony and Musical Companion. He then applies minimalist and postminimalist processes to this material to create innovation choral compositions. This document provides a comprehensive analysis of the methods used to construct all twenty works in Duckworth's collection by tracing the extracted source material through the fabric of the new compositions. This study provides substantial evidence of Duckworth's place as a pioneer of the postminimalist genre. It also provides a discussion on the vocal implications of utilizing shape-note hymns as source material as traditional performances of the genre are typically associated with a unique vocal style.

Social Networking Sites have taken the world by storm with an aggressively growing market. People are spending more and more time with ever more alluring algorithms to keep a high interest for increased profit margins and revenue. However, this brings forth societal issues regarding attention span. Herbert. A. Simons (1971) theorized that as people gain information, it is in exchange for attention in an attention economy.With these uprising issues, we set out to discover if there were ways to alleviate the attention required to understand the content. In design, minimalism as a design concept helps to solve these issues by communicating as effectively as possible and skipping "the small talk." Further, the massive growth SNS has experienced in the 2010s leaves a market opportunity to streamline advertisements to communicate with its audience more effectively.The research set out to answer two questions: “How do end-users perceive minimalistic design principles to affect memorability in SNS advertisements?” and “How do end-users perceive minimalistic design principles to affect the attention required to understand an advertisement on SNSs?” We constructed interviews based on previous research and conducted eight interviews. The interviews were then thematically analyzed, where four significant themes occurred. "Positive Perception of Attention Required", "Positive Perception of Effects on Memorability", "Influential Individual Content Creators" and “Effects on Minimalism by Context”. The findings revealed a positive perception of how minimalistic design principles affected the attention required to understand the content. Likewise, it was found that people had similar perceptions of the effects on memorability. Further, it was revealed that a majority believe individual content creators can alleviate societal issues regarding attention.

I explore visual and process-based systems to solidify the allusive nature of conceptual ideas. Impermanence, time and interdependence are reoccurring themes that stem from an interest in Eastern philosophy. Oscillating from representation to abstract minimalism, printmaking to sculpture, each element in a work is tailored to the concept. The minimalist appearance suggests simplicity, however elaborate planning and systematic execution are at the heart of my practice. Systems create great constraint, yet provide great freedom.

The feeling of a narcotic cannot be put to words, just as the sensation one receives from her or his favorite artwork is impossible to record. Equally, both these delicacies of modern existence must be sought out. The user/viewer only gets a tiny taste and must therefore keep coming back for more. Utopia may be an unrealistic construction of culture, but I would posit the idea the both narcotics and art strive to give us just that – however tiny a taste. This paper addresses the intersections of visual art, drugs, anti-hero worship and contemporary representations of Romanticism throughout the American body politic.

My art consists of the repetition of patterns, shapes, numbers, text, and found objects that communicate concepts in language, science, and math as art. My work addresses aesthetic and formal aspects of the art itself and embraces the process and experience of creating. I use repetition of lines and shapes to create a complex mass of infinite amounts of shapes, which create what I regard as a peaceful gathering of energy. These patterns can be freely interpreted as the co-dependency between everything in existence, which contributes to the changing balance of life. Similar to my patterns, my sculptures fuse several layers of found objects to form a larger structure with the intention of creating a new meaning and life of those objects. The wide variety of subject matter in my artwork stems from a continuous and honest investigation into our constantly changing world.

A text about the difficulties of letting go of worries and forgiving oneself. This is discussed through the practice of mindfulness and the ritual as an artistic process. Dedicating time and acknowledging the present generates presence, visible in the artistic objects. The method of Collage reflects this through piece by piece building stronger artwork and a stronger self.

Throughout the Spanish poetic production of the 20th century, cities have developed a relevant role as a recurring space at the same time as society urbanized and an exodus took place from agricultural areas to the work centers offered by the cities. Since the second half of the 19th century the city has been the meeting place for people from different backgrounds where the poet found, from his exclusive point of view, a new universe to develop in his work. However, the evolution of capitalist society sponsored the poet's transition from an artist to a worker in the service sector, now able to describe the everyday life through that "other voice" that Octavio Paz so well exhibited in his work (Paz 1990). This way, I argue that with the passage of time and the disappearance of the romanticized figure of the poet, writers who describe the daily commute of the inhabitants of the cities emerged among the working classes through a simple style that has come to be related with other transcultural artistic movements such as Minimalism or Dirty Realism. My dissertation studies the representation of the urban working class in three contemporary Spanish poets: Karmelo C. Iribarren, Itziar Mínguez Arnáiz, and Fernando del Val. I analyze their shared poetics of the city with a focus on the omnipresent common objects that seem to represent the urban everyday life. In Chapter One, I develop a conceptual “trialectic” lens through which to approach all three poets based on the convergence of urban studies, the analysis of poetic form in relation to the artistic current of Minimalism, and the imprint that U.S. author Raymond Carver-as both literary persona and style-left on Spain since his publication in translation in the late 1980s. In Chapter Two, I analyze how the processes of gentrification and privatization of public spaces reflect an experience of suffering by the working class in Iribarren's poetry. In Chapter Three, I study gender-space relations as I analyze what it means for working class women to walk the city and occupy public spaces traditionally reserved for men in Mínguez Arnáiz’ poetry. In Chapter Four, I follow Spanish expatriates across the Atlantic Ocean in the wake of the 2008 financial crisis to explore resistance movements against spatial exploitation that force working classes into geographical oblivion in Del Val's “New York trilogy.” To carry out this project, I propose to analyze the works of these three authors emphasizing not only the common characteristics that each one of them presents but also those that make them unique. With this, I intend to find out the paths Spanish poetry is taking and how this realist-style poetry differs from the realistic trends of "the poetry of experience" and the "dirty realism" so popular in the 80s and 90s. I argue that with the entry of the new millennium and especially with the extensive implementation of neoliberal policies that led to the economic crisis of 2008, there is a boom in the poetry of resistance that seeks to prove that an egalitarian right to the city is more urgent than ever.

Cette thèse a pour objet la syntaxe des classificateurs (CL) et des Constructions à Cas Multiples du coréen. Cette étude adopte essentiellement le cadre antisymétrique de Kayne, mais utilise également certains concepts fondamentaux du cadre minimaliste, comme la Vérification des traits formels. La première partie de cette thèse est consacrée à l'étude des CL et de la structure interne des expressions nominales à CL; nous montrons notamment qu'un traitement syntaxique parallèle pour les domaines nominal et phrastique est possible en coréen. Dans la seconde partie, consacrée à la structure phrastique et plus spécifiquement à celle des Constructions à Cas Multiples du coréen, il est soutenu que les marques dites casuelles du coréen ne sont pas de véritables marques casuelles, mais des têtes fonctionnelles, et que les Constructions à Cas Multiples du coréen s'obtiennent par la réitération de ces têtes fonctionnelles, suivie d'une opération d'Attraction.

This dissertation presents the findings of an investigation of adnominal possession and ditransitives on the basis of data from Modern Greek. The general thesis of the dissertation is that possessive DPs constitute nominal counterparts to ditransitive constructions. Greek ditransitives consist of double object constructions and prepositional dative constructions, which are analyzed as low applicatives; the former with possessive properties, the latter with locative. Double object constructions, unlike prepositional datives, are associated with restrictions concerning animacy, affectedness and number features on the recipient. A-movement (a)symmetries in ditransitives are argued to reduce to underlying phase structure and the movement properties of the applicative head. The dissertation shows that the possessive/locative dichotomy associated with Greek ditransitives is reproducible in the realm of adnominal possession. Prenominal possessors pattern both syntactically and semantically with dative recipients in double object constructions, while postnominal possessors display affiliation with PP-recipients in prepositional dative constructions. Binding diagnostics furthermore indicate two distinct Small Clause structures for Greek possessive DPs, syntactically identical with the structure of ditransitives.