This study constitutes the first critical history of dematerialization. Coined by critics Lucy Lippard and John Chandler in their 1968 essay, “The Dematerialization of Art,” this term was initially used to describe an emergent “ultra-conceptual” art that would render art objects obsolete by emphasizing the thinking process over material form. Lippard and Chandler believed dematerialization would thwart the commodification of art. Despite Lippard admitting in 1973 that art had not dematerialized into unmediated information or experience, the term has since entered art historians’ lexicons as a standard means to characterize Conceptual Art. While art historians have debated the implications of dematerialization and its actuality, they have yet to examine closely Lippard and Chandler’s foundational essay, which has been anthologized in truncated form. If dematerialization was not intrinsic to Conceptual Art, what was it? By closely analyzing “The Dematerialization of Art” and Lippard and Chandler’s other overlooked collaborative essays, this dissertation will shed light on the genealogy of dematerialization by contending they were not describing a trend limited to what is now considered Conceptual Art. By investigating the socio-historical connections of dematerialization, this dissertation will advance a more far-reaching view of the ideology of dematerialization, a cultural misrecognition that the world should be propelled toward immateriality that is located at the intersection of particle physics, environmental sustainability, science-fiction, neoliberal politics, and other discourses. This analysis then focuses on three case studies that examine singular works of art over a twenty-year period: Eva Hesse’s Laocoön (1966), James Turrell’s Skyspace I (1974), and Anish Kapoor’s 1000 Names (1979-85). In doing so, this dissertation will accomplish two objectives. First, it looks at how these works materially respond to the ideology of dematerialization and provide a means for charting how this cultural desire unfolds across space and time. Second, this dissertation contends that contrary to Lippard and Chandler’s prognostication, dematerialization—and immateriality—does not correlate to emancipation from capitalization. Rather, it will be shown that dematerialization, its rhetoric, and its strategies can actually be enlisted into the service of the commoditizing forces Lippard and Chandler hoped it would escape.

Wonder has had a rich and diverse history in the western philosophical tradition. Both Plato and Aristotle claim that philosophy begins in wonder, while Descartes marks it as the first of the passions and Heidegger uses it as a signpost for a new trajectory of philosophy away from idealism and nihilism. Despite such a rich history, wonder is almost always thought to be exhausted by the acquisition of knowledge. That is, wonder is thought of almost exclusively in epistemological terms and is discarded as soon as knowledge has been achieved. In this dissertation, I argue for an ontological reorientation of wonder that values wonder beyond its epistemic uses. To do this, I read the phenomenological and ontological work of Maurice Merleau-Ponty through recent developments in object-oriented ontology and new materialism. Much of Merleau-Ponty's work is directed toward dissolving the distinction between subject and object. His insights regarding the mutual constitution of the world lead to the possibility of an operative wonder that occurs between subject and object. Both object-oriented ontology and new materialism radicalize these insights by articulating them in terms of a vibrant or quasi-agential material world. Objects and assemblages of objects are capable of performing the becoming of the world that includes human activity, but is not reduced to it. As such, the world is capable of both self-organization and practice. Ultimately I use the philosophy-physics of Karen Barad to argue that operative wonder acts like a kind of superposition of relations between objects, and thereby accounts for a concept of wonder that is both ontologically significant and acutely generative.

Given the state of the planet at present —specifically, the linked global ecological and economic crises that conjure dark imaginings and nihilistic actualities of increasing resource depletion, poisonings, and wide-scale sufferings and extinctions—I ask What might we hope now? What points of intervention offer possibility for transformation? At best, the response can only be partial. The approach this thesis takes initiates from specific pre-discursive assumptions. The first understands current conditions as having been produced, and continuing to be so, through practices that enact and sustain neoliberal relations. Secondly, these practices are expressive of a subjectivity tied to a Cartesian worldview, which, therefore, needs to be interrupted at its foundational roots. Thirdly, the scaffolding that supports this subjectivity draws on Newtonian science and neo-Darwinian narratives deemed to be natural law and, therefore, ontological, immutable reality. Contrary to modernist thinking, I premise that these two strains, subjectivity and science, are neither autonomous nor ontological, but that they are materially and contingently integral. Finally, this thesis presumes that different and life-affirming trajectories are, in fact, desired. An integral framing of science and subjectivity provides a productive method of feminist science studies analysis and theorization. Observing the capitalist Western social imaginary through this lens reveals its philosophical and scientific infrastructures to be outdated and crumbling. Observing how emerging scientific narratives in quantum physics and systems-biology intersect with marginalized theories in process-philosophy and subjectivity reveals a life-affirming imaginary of difference, one that arrests nihilism and sets ethical trajectories in motion. Certain, though not all, percepts of feminist new materialism engage twentieth and twenty-first century sciences successfully to show that ethicality matters. Though many questions remain, this points auspiciously towards the possibility for a transformed politics of justice.

<p>This research uses the composition practices of three experienced letterpress typesetters as a case study for the development of a methodology for studying human-technology interaction. This methodology tries to take seriously the implications that theories of materiality have for empirical research in writing and technology.</p> <p>Data was collected from three experienced typesetters, each of whom was observed setting type for two hours, then interviewed for 1 ½ to 2 hours, using observation footage to inform interview questions. Interview transcripts and observation footage were then coded for observable material intra-actions and the influences that characterized those actions and brought them into being.</p> <p>Data analysis produced six desiderata, or desires for design, that emerged as driving the composition process: 1) a desire to use the technology, 2) a desire for efficiency, 3) a desire to imitate/defer to historical practices, 4) a desire for letter-level correctness, 5) attention to aesthetics, and 6) a desire to communicate.</p>

(English) By the time the liberals triumphantly proclaimed the end of history, some environmentalists started to mobilize the public against western modernity by proclaiming the end of nature. For many people, the environmentalist agenda meant a new ideology that could exceed the classical ones; many, on the other hand, understood environmentalism as radically anti-ideological. In this thesis, I'll focus on the relationship between nature and society that lies in the core of both, environmental thought and modern emancipatory projects. I'll try to expose the inherent contradictions that the environmental discourse inherited from liberalism and Marxism.

This study aims to examine outdoor play as a phenomenon in a selection of Swedish preschools; the purpose, the teaching that occurs and to explore the term “teaching” through a new materialist lens. We employ a thematic analysis which focuses on issues such as the environment, staff attitudes, materials available together with curriculum aspirations. Through interviews, case studies and blueprints over two schoolyards we have painted a picture that is more complex than at first glance. A new materials interpretation offers a view that there are more aspects at play than simply staffing levels or the availability of an adequate schoolyard. Other agents that shape the outdoor experience include non-human elements such as materials, the environment, discourses and organizational structures as well as phenomena like the weather. The outdoors doesn’t just offer a range of pedagogical opportunities, it also offers vital opportunities for both staff and children to enjoy restoration; a break for both mind and body. Finally, we review and re-interpret the term “teaching” through a new materials perspective. With the inclusion of materials as potential producers of knowledge we broaden this term to acknowledge the importance of children’s interactions with their environment. We posit that this allows children to elevate their own learning experiences to equal or more than the value of learning facilitated by an adult.

“Jarðnæði; Tranquil Terra” is a meditation on the relationship between the dwelling and the dramatic ever-changing landscapes of the rural Icelandic countryside. The project is anchored in a place with a long and complex history and with a profound relationship with its landscapes - a place of wandering churches, lifesaving shipwrecks, growing houses, teeth in the ground, paths lined with crosses to protect against the ghosts and other dark creatures. It is a place where everything is vibrant, alive and has a story to tell. In the journey to the Tranquil Terra I navigated by means of cartography and critical fiction in search of ways to rethink the Icelandic architectural heritage beyond the nature-culture divide. / "Jarðnæði; Tranquil Terra " är en meditation över förhållandet mellan bostaden och det ständigt föränderliga  landskapet på den isländska landsbygden. Projektet är förankrat i en plats med en lång och komplicerad historia och med en djup relation med sitt landskap - en plats för vandrande kyrkor, skeppsvrak, växande hus, vägar kantade med kors för att skydda mot spöken och andra skrämmande varelser. Det är en plats där allt är levande och har en historia att berätta. I resan till Tranquil Terra navigerade jag med hjälp av kartografi och kritisk fiction på jakt efter ett nytt sätt att tänka kring det isländska arkitektoniska arvet utöver klyftan mellan natur-kultur.

Our impact on the planet's functioning has allegedly become so profound that during the last years the scientific community has been considering assuming a shift from the Holocene - our current geological epoch - to the Anthropocene, the Age of Man. According to philosopher Bernard Stiegler, this "era of Humans" is not only visible in the devastation of natural ecosystems, but also through the destruction of human skills and methods of transmitting knowledge. The Anthropocene, which was initiated by the industrial revolution, thus passed through the industrialization of culture, and has disrupted our understanding of the world. Philosopher Rosi Braidotti proposes that with the advent of this new era, we ought to be aware of not only the ever-present environmental catastrophes, but that we also ought to use it as a tool for reappraising what it means to be Human. According to her, the Western subject was created as a product of the Humanist cultural hegemony which defined it within a logic of binary opposition. In light of these ideas, this Master's thesis attempts to show that art can provide us methods for redefining our relationship to each other, as well as to the wider world, and help us navigate the contours of the ongoing crisis. The work uses Posthumanist thought and its affiliated...

This dissertation examines the role of material in six selected zines from subcultural, artistic and activist circles. The work deals with printed micro media with a small reach and is based on the concepts of alternative media, gives a brief overview of theoretical perspectives on zines from subcultural studies, through fan studies and participatory culture. The thesis is critical of the concepts and calls for the enrichment of existing perspectives, mostly consolidated in old (post- marxist) materialism: specifically, for a reflection on post-digital culture and new materialism, which allows us to reconsider the role of material in the production and distribution of zines. The case study combines personal interviews and content analysis with an emphasis on material and ethnography of the spaces where zines are formed and transmitted. Based on Bourdieu's field theory, the study conceptualises the zine scene as a field of zine production and seeks to radically contextualise the traffic between bodies, spaces, paper and other materials, machines, and finally capital (economic and subcultural). The theoretical apparatus allows to examine the changing role of zines in the post-digital age when information shifts from sowers to platforms of emotion and touch. The main argument of the thesis is that...

To write is, in a certain sense, to experience the immaterial thoughts of one’s mind materialize in the becoming of scripture. Nevertheless, since early modernism, the writing of poetry has rarely been perceived as an unmediated transition of language, from the interior of the self to the material surface of writing. Indeed, the tendency of modernist and subsequent postmodernist aesthetics to emphasize the density, opacity and autonomy of the poem, for example through various techniques of fragmentation, draws attention to the ways in which the materiality of writing is implicated in the production of meaning. The present thesis is a study of how meaning and materiality interrelate in two poetry collections, Skäran (2001) and Täthetsteoremet (2012), by the contemporary Swedish poet Helena Eriksson. The aim is to show that these relationships are important effects of the metapoetic discourse in Eriksson’s poetry, and how they produce a certain tension or ambiguity in the writing subject's relation to body and language, self and other. Through a reading of the diverse representation of the hand in Eriksson’s poetry as a metapoetic motif, the analysis combines a phenomenological view of embodied subjectivity, with a media theoretical conception of the writing hand, as well as a new materialist approach to agency and embodiment. The method of analysis that follows from these perspectives is a close, reparative reading, where the poetic text is seen as a situational discursive act that reaches out to the reader in a communicative gesture, offering its own body as meaning.