Just as the surrealistic movement challenged our perception of reality, the present work applies surrealistic methods to challenge our preconceived hierarchies between body, dress, and accessory. Adding to past surrealistic work in fashion design, the present work does not only strive to create surrealistic expressions, but to enhance the creative process through surrealistic methods. Three surrealistic methods were tested: Entopic Graphomani, Frottage, and Exquisite Corpse. The methods ability to challenge hierarchies between body, dress, and accessory was assessed through their ability to result in an element of surprise. For the present work, Exquisite Corpse had the greatest potential. By using participant observation and an adapted version of Exquisite Corpse seven looks were developed. The present work concludes that the surrealistic methods can by used not only to develop surrealistic expressions, but also to enhance the creative process within fashion design.

This study sets out to determine the interrelationship between meaning(s), form (specifically framing and composition), cinematic technology and the surrealist ideology with specific reference to Luis Buñuel’s film, Un Chien Andalou (1929). The study utilises a semiotic framework to analyse the seminal film, as well as the researcher’s short film Facebrick (2012). The semiotic reading is conducted according to key surrealist tenets namely, spatio-­‐temporal disruption, the use of free-­‐association and the inclusion of cultural, religious and sexual symbols as a revolutionary tool. Gillian Rose’s (2007) semiotic framework underpinned by James Monaco’s (1977) schema for analysing the moving image, was utilised to read the selected film texts. A comparative analysis reveals that although the researcher employed different cinematic technology to construct the short film than that available to Buñuel in the 1920s; similar cinematic techniques could be recreated, as the analysis shows, through the use of key surrealist characteristics. Not only did this allow mere reproduction of these techniques, but rather a full appropriation of these techniques within a contemporary context. Thus the techniques, communicate the surreal, both aesthetically and intellectually. The theoretical study provides the foundation for the practical output, creating a conceptual framework that guides the creation of a short film. The practical research component relies on the parameters identified in the semiotic reading. This was facilitated by the characteristics of Surrealism: the disruption of time and space, the inclusion of archetypal symbols and the use of free association. The short film, Facebrick (2012), follows a voyeur obsessed with gazing at three characters. The film explores the human condition in an urban environment drawing from themes such as Jean-­‐Paul Sartre’s gaze theory as well as Freudian themes of identity and sexuality.

No description available.

My project attempts to nuance the bodies of knowledge produced in relation to processes of natural resource extraction in Norrbotten, Sweden. Operating between fact and fiction, I have presented the project as a speculative video narrative. The protagonist is the Lule River, where the implications of its domestication and agency is explored.  This territory can be understood as a wilderness, a cultural landscape, the Sami homelands and a place of extraction. Prior to Vattenfall’s acquisition of Porjus, the estate belonged to Erik Abraham Olofsson Rim (1844-1920). Olofsson Rim was Forest Sami with background in Sjokksjokk sami village. Speculative fiction is a powerful tool to contemplate societal issues and grapple with complex realities. The result lies in the audience’s reading of the project, where the goal is to spark discussion and reflection. In the aesthetics of the proposed post-fossil world, I have ventured into the playfully surreal. The playful in terms of unexpected elements and color palette. The surreal is expressed through composition, scale and juxtaposition. Dealing with such huge infrastructure objects, which are surreal and abstract in themselves, I have attempted to make the line between the real and the unreal fluid, to evoke the audience’s reflection of the possibilities at hand.

Symptoms of a Cosmic Fluke is a book of poems.

Mitt arbete handlar om jorden, världen och mig själv. Om en känsla av främmandeskap inför verkligheten, och en vilja att hitta sätt att återanknyta till den. I min uppsats berättar jag om vad jag tänkt på och gjort i min process. Tänk om vår plats som människor på jorden var en annan? Tänk om vi var mindre, tänk om andra, icke-mänskliga saker var större? Eller tänk om vi var mer eller mindre än människor, eller andra saker mer människo-lika än vad vi ser? Jag har i mitt projekt velat återanknyta till mitt ”barndoms-jag” och de ”jag” som jag varit genom åren, som ett sätt att öva på perspektivskiftena och förmågan att föreställa mig alternativa verkligheter som jag haft och mist under vägen. Min metod för att praktiskt omförhandla verkligheten varit att jobba intuitivt, lekfullt, med olika aspekter av mitt barnasinne. Jag har utgått från idén om att när min perception av verkligheten varit annorlunda, som när jag var barn, har den ändå varit lika mycket verklighet som den jag uppfattar nu. Att återanknyta till den är att förändra, eller förlänga, min nuvarande verklighetsbild.

Toyen and sexuality is a frequent topic of art history texts written about the artist in the last twenty years. Toyen provoked with her erotic drawings and illustrations, her appearance and mysteriousness shrouded around her. Where did the roots of her desire, depicted in her work, came from? What was the role played by contemporary context? How her contemporaries wrote about sexuality? Were there any interpretations of the artist's work based on the known information about her person or personality? What was the Toyen's position as a woman? The empirical part of my thesis is based on research, where I try to seek for answers to the questions found in the texts published in Czechoslovakia. The research is bounded by years 1922-1947. Years when Toyen entered respectively left the Czech art scene. Her work has therefore been interpreted by persons who lived in the same cultural context, some of them were actually her personal acquaintances. I will also try to answer the question whether the contemporary texts differ from the texts written after 1989, eventually how. Within the examining the reflection of sexuality in the work of Toyen I will also ask myself whether the perspectives of view are different in the eyes of men and women. The question put in this way accompanies, depending on the answer,...

This thesis project will focus on the symbolism and artistic interpretation of how I perceive reality. This thesis project uses all artistic skills that I have acquired throughout my lifetime and combines them into one mixed digital media video. This is a mix between the two digital media formats 2D and 3D. Each animation and segment syncs with the music selected manually or technically. The process of creation for each segment and explaining which software I choose to use for each task. It also dives a little further, noting the artistic decisions and why. The symbolism used within the art piece is addressed and explained. Anything not discussed is open to personal interpretation and encourages the viewers to think individually further into the topics. The usage of this art style / art form is discussed and researched on where it can be found in usage outside of the music industry. Also, stating the popularity and accreditation this style receives from casually mass viewing. In summary, the art style of surrealism and abstract shapes in addition to the art form of mixed digital media, consumers indulge this art archetype worldwide. It can be useable within music visuals, ambient relaxation, modern art galleries, video games, and progressive advertising. Thus, making this art viable in multiple parts of the economy and creating consistent trends of revenue increasing. With the consistent growth of technology use, complimentary style to electronic music, and viable formatting for social media this art style is predicted to drastically grow in demand within the next coming years.

<p>    </p> <p>These short stories began as reimaginings – I wondered what would come if I took Islamic myths of churail, oracular trees, and jinn and considered them in the half-light of diaspora, where the monsters are familiar but newly cultured to a globalized world. The stories in <em>Distance, the Midnight</em>, both flash and long-form, are loosely linked by themes of alienation, physical displacement, and grief. They ask questions about questions, which in the world of the book are best left unanswered, and the possession of the spirit, which, normally feared as a loss of control of the body, is here depicted as a necessary escape to a different sort of embodiment. </p> <p><br></p> <p>In “Antipode,” Paro, a churail living in Houston, marks the ten year anniversary of her husband’s death and the loss of her connection to the divine with her first real exorcism in over a decade. In “No Blood in the Creek,” Mallika, who was once possessed looks for her jinn in a desperate attempt to be displaced from her body once more. In “Admiring Myself Sideways,” a woman grown accustomed to her split personality searches for a lost self in mirrors. In “Hard Work,” an unemployed person gives up on the job market and turns to a life of crime and communes. These stories and the rest point to a singular interrogative: what if giving up on the being we’re born into is a better alternative to accepting it. </p> <p><br></p> <p>I could not have written this manuscript without having read Leonora Carrington, Helen Oyeyemi, Sabrina Orah Mark, Clarice Lispector and Ludmilla Petrushevskaya alongside folktales from the global south. From these writers, I’ve learned that the surreal can lend a story more than diversion and quirk. It can be a vehicle for tenderness, can leave a reader raw, unsure at what point the text peeled away a scab. I hope this collection is a movement towards that tenderness. </p>

Denna uppsats analyserar surrealismens influens i Haruki Murakamis framställning av sin skrivprocess. Uppsatsen identifierar de verktyg och instrument som används för skapande av surrealistiska berättelser med Andre Bretons Surrealistiska manifest som utgångspunkt. Fokus på surrealismens automatism, drömmen och hypnosen som teoretiskt ansats och metoderna Närläsning och Komparativ Metod i litteraturforskning utgör analysen. Analysen visar att författaren använder sig av surrealismen främst via automatiskt skrivande men motsäger sig genren i sina romaner. Trots detta präglas författarens roman Kafka på stranden av surrealismen med ”bilder” liksom fisk som faller från skyn. Analysen visar således även att avståndstagande ifrån surrealismen som genre i ens verk inte betyder att man inte är surrealist i sitt skapande.