This dissertation examines experimental dance in New York City in the 1990s. Earlier periods of American concert dance have received significant scholarly attention to the historical, political, and aesthetic aspects of dance practice. Moreover, certain periods of modern dance — especially the 1930s and the 1960s — have been analyzed as moments of significant change, and the artists that emerged from the Judson Dance Theater in particular have held a significant place in the theorizing and historicizing of dance in the United States. However, experimental dance practices of the early 21st century demonstrate dramatically different aesthetics, approaches, and circumstances of production than those of earlier periods, including their Judson forebears. This project argues for understanding the 1990s as a period of significant change for dance, one with continuing resonance for the decades that follow.This project uses the term "downtown dance" to situate experimental dance in New York City as a community of practitioners, rather than as a particular set of aesthetic or artistic practices. Each of the four chapters focuses on an aspect in this period that would define how dance looked, how dancers practiced, and what shaped the artistic values and priorities of this community. The first chapter presents a history of the dance-service organization Movement Research. Tracing the history of the organization from its founding in 1978 through the establishment of its most influential programs in the 1990s — including the Movement Research Performance Journal and the performance series Movement Research at the Judson Church — the chapter locates Movement Research as a central entity in building the community and shaping theaesthetics of downtown dance. The second chapter examines the effects of the AIDS crisis on dance in the 1990s. As AIDS entered its second decade, it collided with and magnified downtown dance's complex relationship with emotion. This chapter draws on scholarship of AIDS' relationship to visual art, theater, and activism, as well as close readings of several works — by artists including Donna Uchizono, Neil Greenberg, John Jasperse, RoseAnne Spradlin, Jennifer Monson, and DD Dorvillier — most not generally understood as "AIDS dances," to argue that AIDS' impact generated a fundamental shift in the role of emotion in downtown dance. The third chapter examines how shifts in arts funding in the 1990s connected to a major restructuring in production models for dance. This chapter connects the history of the modern dance company with both aesthetic and economic developments over the course of the 20th century, arguing that the company should be understood as a combined economic-aesthetic system. Furthermore, the chapter demonstrates the new model for dance production that began to take hold in the 1990s in the wake of widespread funding and economic shifts: the project model. Teasing out the complex web of funding for dance, this chapter makes extensive use of dance periodicals; several funding trend analyses from organizations including Dance/USA, National Endowment for the Arts, Dance/NYC, and private corporate and foundation reports; and the archives of the presenting institution Danspace Project. The final chapter looks at how the shifts in economic models for dance discussed in the previous chapter connected to changes in training and bodily technique of dancers and performers. Specifically investigating the history of "release technique," this chapter examines how attitudes toward technique and training in downtown dance in the 1990s shifted the connection between movement practices and creative output, reconceiving the role of the dancer in the dancer-choreographer relationship.

A vertical world The connection between worlds is a layer of time The city contains many of its vessels The vision, the vessel, a tall building / Master of Architecture

As New Paltz grows into the future, the past is blended with the present. Possibilities for understanding the past are available as future plans are developed. Connections between places and between times are an integral part of strengthening the character and identity of this town. Current urban and architectural concerns are studied, explored and presented as possibilities for the future. / Master of Architecture

Part of the struggle of making architecture is reconciling its various realities; as it exists as pure idea and its transformation into a ‘thing’ existing in the world. Modern times pose a new challenge as well. As Jacob Bronowski has said, the dilemma is no longer to find structure for material but to find material for structure. Therefore, the ‘imposed idea’ is important as an impetus for Architecture to exist. In this project the imposed idea was the use of a series of parallel walls, vertical planes, that delimit the place for dwelling. In the first drawings, an attempt was made to use color as the substantiation or realization of space. The line drawing remains as a descriptive adjunct to the expressive drawing. They <i>become</i> together; the idea vs. its realization each describing the ‘thing’ in its <i>evolving</i> reality. / Master of Architecture

Through an ethnographic examination of two New York City South Asian organizations, Worker's Awaaz and the Global Organization of People of Indian Origin (GOPIO), this study attends to the classed subjects produced at the different points of convergence of neoliberal policy in India and the United States. The project is concerned with the workings of South Asian organizations as the demographic profile of this population changes due to new migration patterns marked by gender, class, nationality and status, and new subjectivities borne of organizing and activism that have emerged around these. With attention to the nexus of capital, labor and rights, I argue that each organization represents two sides of neoliberal tendencies, and that this materializes in the subjects of worker and diasporic entrepreneur that are mobilized in Worker's Awaaz and GOPIO, respectively. Structural adjustment programs (SAPs) in South Asia compelled the migration of the low-wage female membership Worker's Awaaz. Once in the United States, where carework has become increasingly privatized, many of these women find employment as domestic workers whose labor is necessary to the households of upper-middle class and wealthy South Asians. SAPs also opened up South Asian markets to direct foreign investment. Needing outside capital for schemes of privatization and deregulation, the government of India turned to the diaspora, and deployed financial investment by overseas Indians as diasporic duty. This is a role that GOPIO has been at the forefront of organizing. I specifically explore how economic beings constructed through neoliberal discourse of human capital inhabit, rework, and contest these very discourses and practices. In Worker's Awaaz debates regarding who constituted a worker were contestations over the meanings of class and labor rooted in global migration flows. Within GOPIO the class inflected subjectivity of entrepreneur found nationalist luster as the articulation of entrepreneurialism was cast as a trait of Indian diasporic culture. The subject positions borne from these activities produced different struggles over the terms of national belonging and rights. The dissertation understands these positions as generated from the disjunctive tendencies of neoliberalism, and as sites that give insight into the workings of current capital regimes. / text

Thesis (M.S.)--Naval Postgraduate School, 2002. / Cover title. "June 2002." AD-A405 990. Includes bibliographical references (p. 77-80). Also available via the World Wide Web.

This thesis analyzes the origins, growth, and legitimization of the standardized test preparation ("test-prep") industry from the late 1940s to the end of the 1980s. In particular, this thesis focuses on the development of Stanley H. Kaplan Education Centers, Ltd. ("Kaplan") and The Princeton Review ("TPR"), and how these companies were most conducive in making the test-prep industry and standardized test-preparation itself socially acceptable. The standardized test most frequently discussed in this thesis is the Scholastic Aptitude Test ("SAT"), especially after its development came under the control of Educational Testing Service ("ETS"), but due attention is also given to the American College Testing Program ("ACT"). This thesis argues that certain test-prep companies gained legitimacy by successfully manipulating the interstices of American business and education, and brokered legitimacy through the rhetorical devices in their advertising. However, the legitimacy for the industry at-large was gained by default as neither the American government nor the American public could conclusively demonstrate that the industry conducted wholesale fraud. The thesis also argues that standardized test manufacturers were forced to engage in a cat-and-mouse game of pseudo-antagonism and adaptation with the test-prep industry once truth-in-testing laws prescribed transparent operations in standardized testing. These developments affect the current state of American standardized testing, its fluctuating but ubiquitous presence in the college admissions process, and the perpetuation of the test-prep industry decades after its origins.

Les sceaux de plomb sont des artefacts relativement inconnus mais très importants comme sources d’information sur les textiles et leur consommation aux XVIIe et XVIIIe siècles. Ces étiquettes en plomb souvent attachées aux textiles ont servi comme indicateurs de qualité, de possession et de paiement des impôts sur ces textiles et autres biens commerciaux. Trouvés sur plusieurs sites archéologiques en Amérique du Nord, ces sceaux sont des indicateurs des origines éuropéennes des textiles ainsi que des réseaux marchands nécessaires pour les transporter vers la Nouvelle-France, un espace colonial fort dépendant de la métropole. Cette étude vise à découvrir de nouveaux détails sur les formes de consommation textile uniques de trois sites différents par leur localisation, leurs fonctions et leur population en utilisant les sceaux de plomb qui s’y trouvent. Les sceaux de trois sites français de l’époque coloniale seront examinés; le fort Saint-Joseph (Niles, MI), fort Ticonderoga (à Ticonderoga, NY, aussi connu sur le nom de fort Carillon) et la forteresse de Louisbourg (Louisbourg, NÉ). / Lead seals are relatively unknown artifacts, but are important as sources of information concerning textiles and their consumption in the seventeeth and eighteenth centuries. These lead tags were often attached to textiles and were proof of quality, ownership, and payment of taxes on textiles and other commercial goods. Found at many archaeological sites in North America, these seals are indicators of the European origins of imported textiles as well as merchant networks needed in order to transport them to New France, a colonial territory that was very dependent on the metropole. This study aims to discover new details concerning the unique consumption patterns present as three sites with different functions, locations, and populations, using the lead seals found at these sites. Seals from three French sites from the colonial period will be examined; Fort St. Joseph (Niles, MI), Fort Ticonderoga (Ticonderoga, NY, also known as Fort Carillon), and Fortress Louisbourg (Louisbourg, NS).

Au début du mois d'août 1757, sur les rives du lac George, dans la colonie de New York, l'armée française assiège le fort britannique William-Henry. Les Français sont accompagnés de leurs alliés amérindiens, provenant de la vallée du Saint-Laurent et de la région des Grands Lacs. Après un siège d'une semaine, la garnison britannique se rend, le 9 août 1757. Durant cette journée et la suivante, les alliés des Français vont s'en prendre aux militaires britanniques défaits. Ils pillent, ils capturent, ils scalpent, ils exhument les morts, ils se révoltent et ils se vengent. Dans la logique guerrière amérindienne, ces gestes ont un sens symbolique particulier, ils ne sont pas simplement barbares et incompréhensibles comme l'ont cru les Britanniques, les Français et les coloniaux. Les actions des alliés sont dictées par leur culture traditionnelle de même que par le processus de leur intégration dans un système militaire, économique et culturel colonial. / Québec Université Laval, Bibliothèque 2014

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