I am creating this body of work based on how we as a society interact and utilize our every day valuable possessions. These would consist of personal items such as our keys, wallets and purses, As well as how well we are able to hide them from strangers, insofar as to where we personally choose to place them. It's interesting how many of us can be lackadaisical in this regard and as a result, many times don't carefully think about where we choose to place our valuable objects, until we lose them or worse, have them stolen.I am exploring the more thoughtful placement of these personal type possessions in our every day life, and how we have heretofore attempted to conceal them.

This master thesis aims to describe the creation of dramatic illusion based on the interaction of three elements: actor - play - spectator. It also seeks to define metatheatre as a defiance of the dramatic illusion. It distinguishes the notion of metatheatre from the one of play-within-play in general. Specific Plautus'use of the metatheatre technique follows with respective examples from four of his comedies: Amphitruo, Aulularia, Cistellaria and Pseudolus.

Cette étude s'organisera autour d'une perspective générale posant les bases d'une problématique et d'un champ d'application reposant en premier lieu sur les notions de représentation et d'effet de fantastique. Il s'agit donc de rendre compte des particularités textuelles ainsi que de la spécificité du langage mis en oeuvre au sein des textes étudiés, textes catégorisés et classés selon des critères sériels et différenciés. Cette réflexion menée sur l'artifice ou la duperie fantastique conduira ainsi à s'intéresser à la dynamique même de l'écriture fantastique, mode de représentation fondé en premier lieu sur le paradoxe et la dysharmonie, et de ce fait, lieu privilégié d'une crise narrative capable de problématiser la séparation entre mimésis et diégèse. Ainsi envisagé, le récit fantastique devient fiction à propos de la fiction, incluant des éléments autoréférentiels et mettant en scène le processus de l'écriture à l'intérieur même du récit. Le texte, dont le véritable sujet devient alors la représenation littéraire elle-même, peut ainsi être considéré comme le miroir de sa propre écriture, à travers un processus d'autoréflexion spéculaire exhibant les procédés de l'illusion référentielle et leurs enjeux dans l'organisation générale du récit. Ce sont précisément ces procédés et ces enjeux qu'il s'agira ici de mettre au jour et d'étudier. / This thesis is devoted to the study of metafictional techniques and stakes in Fantastic literature. Intertextual references, autorepresentation, aesthetic distance, story within a story, metalepsis : this techniques draw attention to the text's fictionality. On the other hand, we will see how metafictionality can be considered as inherent to the fantastic fiction, understand here as a mode of representation.

Les jeux vidéos, les comics américains, les séminaires ludiques de créativité, leszombie walks, ou encore les phénomènes d’effervescences prennent de plus en plus deplace dans les sociétés contemporaines. Ce travail de recherche s’interroge sur cettedimension ludique de l’existence qui façonne de nouvelles manières d’être-ensemble.Si ce travail s’apparente à la sociologie du jeu, il n’envisage pas le jeu comme undomaine spécifique, comme une sphère particulière de la vie sociale. Notre réflexions’attache à replacer le jeu comme forme de socialisation. Un peu à la manière deHuizinga qui voyait le jeu comme ce qui fait culture, nous envisageons ici le ludiquecomme ce qui fait société.Trois expressions de cette forme ludique de socialisation sont abordées dans cetravail de recherche : 1. Le bovarysme, tout d’abord, qui interpelle les modalités deconstruction de l’identité, ainsi que les rapports entre réalité et irréalité. Le bovarysme,expression contemporaine de l’enromancement médiéval, suggère que l’être-ensemblerepose sur un certain type de fiction. 2. Les itinéraires mnémoniques, ensuite, quidécoulent des fictions bovaryques et qui manifestent la mutation de notre rapport àl’espace et au territoire communautaire. Les lieux communs, territoires de la mémoirecollective, ne s’expriment plus simplement dans un rapport au souvenir, mais aussi dansun cheminement, un voyage, des itinéraires. L’être-ensemble se territorialise dansl’usage de la métaphore que se proposent de faire les sociétés contemporaines. 3.L’esprit d’aventure, enfin, expression de l’amour du risque qui lutte contre l’ennui. Si lafiction identitaire et les itinéraires mnémoniques nous proposent de nouveaux voyagescommunautaires, l’esprit d’aventure et d’exploration se trouve certainement à leurorigine. L’ennui provoqué par un certain désenchantement du monde trouve icil’expression de sa vivante part maudite.Au travers de l’étude de ces trois dimensions des comportements ludiquescontemporains, le jeu apparaît comme expression ambivalente des anomiescontemporaines. Anomie destructrice de la société moderne, d’un côté, anomie créatricedes sociétés en gestation, de l’autre. / Pas de résumé en anglais

Este estudo consiste em uma análise dos elementos e estratégias constitutivos da prosa de Antonio Tabucchi, especificamente observados no romance Notturno Indiano. O romance apresenta-se sob a forma de uma viagem em busca de alguém que se perdeu na Índia, sugerindo uma questão policial. A questão policial será enfocada em consonância como o método investigativo, que se insinua por todo corpo textual, e a sua relação com o desvio de um capítulo. Margeado pela reversão entre ficção e crítica este romance breve afirma-se como referência ilusória que mascara, mas não esconde, as outras vozes que se insinuam na narrativa / The present study is an analysis of the elements and strategies which constitutes Antonio Tabucchi\'s prose, specifically observed in the novel Notturno Indiano. The novel\'s plot is about a journey in which a search for somebody who got lost in India suggests a detective question. This detective story will be treated in consonance with the investigative method which is insinuated through the whole text, and its relation with the deviation of a chapter. Framed by the reverse between fiction and criticism, this short novel shows itself as an illusory reference that masks but does not hide the other voices which insinuate themselves into the narrative

Jag har valt att kalla mitt projekt ”Whereabouts”, vilket betyder plats eller tillhåll. Och det är just en plats som jag försöker skapa i mitt examensarbete. Arbetet handlar om textil i rum och hur jag kan använda mig utav textil för att bygga upp en rumslighet. Fokus ligger på offentlig miljö, och hur jag i en sådan miljö kan skapa en plats för avskildhet och lugn. Lite som ett gömställe att fly till när omgivningen blir stökig och orolig. Det hela resulterar i en rumsavdelare i form av ett textilt tak och golv.Kärnan i projektet är att utforska hur jag kan skapa rumslighet, eller snarare illusionen av rumslighet då jag inte använder mig av några väggar som stänger av flödet i rummet. Istället undersöker jag om det skapas en känsla av att kliva in i ett annat område eller rum genom att föra in ett extra, lägre tak över ett begränsat område. Om det skapas en annan atmosfär under taket. För att ytterligare bygga på detta, arbetar jag även fram ett golv, som fungerar som en avspegling av taket och därmed binder ihop golv och tak. / Program: Textildesignutbildningen

The area of this work is a combination of draping and printing. It strives towards the technique that dazzles the eye with illusions of more than one dimension. As a viewer you will believe that the prints are real drapings while they are flat surfaces. Today prints in fashion are categorized as placed prints or all-over prints, and generally created as a flat surface to decorate the garments. In this work the idea is to manipulate and challenge the boundaries of print and give it life through the body shapes and in the movement. Potentially this work could be an introduction to a new way of working with prints in fashion. This work could poosibly be presented as a new technique where placed- print and all-over prints comes together- called placed all-over prints. Also, it could develop into further techniques in using two-dimensional flatness and save fabric in using photography as an option to the real three-dimensional drapings. Furthermore could it mean savings in material as a conscious choice in the process ? This investigation explores two particular kinds of techniques, - print and draping, that are merged into one expression. The aims of this work is to find new ways of using print in combination with draping in dress and explore the possibilities to find a new technique to create interesting womenswear. To unite dimensions like two-dimensional and three-dimensional as a method of finding new forms and expressions. Through experiments with striped textiles the focus is to investigate the possibilities of greater visual effects on two-dimensional prints. For a depth and to exaggerate the directions in the fabric before translating it into a flat surface the striped textile can be a tool for further design. The striped textile has the potential to help the eye to understand the directions in the print and can be used in more than one dimension and color. To explore how to create 3D effect on 2D in print design through draping in dress is the aim of this work. / Program: Modedesignutbildningen

My work is a tribute to the disintegration of built environments, and the chaos and disturbance that it brings into the idea of what a city should look like. An ode to the ruins that are witnesses to destructive social and economic systems and that tell the stories of the life that once inhabited them. A comment and critique on humanities way of ruining everything: world that we live in and our self; a destructive behaviour that we refuse to admit we have, and desperately try to hide. We polish the façades and fake our appearance in order to keep the illusion. I am discussing the concept of ruin romanticism, comparing the garden ruins of the eighteenth century to the urban exploration of abandoned places of modern society, the fascination for what once was, but are no more and the different feelings these places might arouse. I describe how I through experiments with dying, deconstructed screen printing and distressing, manipulate fabrics to create an illusion of brick walls. And how I through experiments with display, sound and light explore solutions for creating the dystopic atmosphere of abandoned places in a textile installation. My biggest inspiration is the inevitable downfallof the urban landscape and I am romanticising the imperfections and the flaws. I take what is understood as ugly by the rules of aesthetics, make it beautiful, and put it on a pedestal.

Geometrical optical illusions such as the Muller Lyer illusion and the Ponzo illusion have been widely researched over the past 100+ years, yet researchers have not reached a consensus on why human perception is deceived by these illusions or which illusions are the results of the same effects. In this paper, I study these illusions through the lens of a convolutional neural network. First, I successfully train the network to correctly classify how a human would perceive a particular class of illusion (such as the Muller Lyer illusion), then I test the network’s ability to generalize to illusions that it was not trained on (like the Ponzo illusion). I do not find that these networks generalize effectively. Tests to better understand how the network learns to classify these illusions suggest the networks are checking for image data in specific ‘activation regions’ in order to make classifications rather than analyzing the entire illusions.

The spatial frequency doubling illusion (FDI) occurs when the contrast of a low spatial frequency sinusoidal grating is modulated at high temporal frequencies – its apparent spatial frequency increases. Earlier suggestions were that the FDI is generated by a specific class of retinal ganglion cells, which are preferentially lost in the early stages of glaucoma. Based on this linking theory, frequency doubling perimetry (FDP) was developed and several clinical reports confirmed its high efficiency in diagnosing early glaucomatous vision loss. However, this linking theory is not universally accepted and newer suggestions posit that the illusion arises because of temporal frequency related difficulties in temporal phase encoding ability. This thesis psychophysically examines the spatiotemporal characteristics of both the FDI and temporal phase encoding ability with achromatic and equi-luminant (both red-green (RG) and blue-yellow (BY)) gratings at a range of spatiotemporal parameters including those eliciting the FDI. (For complete abstract open document)