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<p> Weaving together influences from philosophy, visual and sonic aesthetics, and radical political thought, this project argues that individual and collective imagination should be understood as important sites of politics&mdash;in cultural, discursive, institutional, and collectivist registers. Rather than proposing dogmatic adherence to any particular ideology, we find that imagining new possibilities, as well as the possibilities for more possibilities, is centrally important to the endeavor of seeking radical change in the contemporary capitalist/state system. By turning to the examples of two politico-aesthetic movements, the Handicraft movement of William Morris and the Hammersmith Socialist League of the 19th century and the 20^th/21^st century cultures of punk rock, we witness the successes and failures of attempts to intervene in political imaginaries. I focus on the anachronistic, non-capitalist mode of production of so-called &lsquo;do-it-yourself&rsquo; (or D.I.Y.), I argue that such productive processes could represent such an inter-temporal rupture point of radical anachronism that I have theorized, and can therefore demonstrate the potentiality of wellsprings for the creation of new forms of politics, paradoxically contributing to the progress of inclusivity and egalitarian politics through the introduction of anachronistic performances, visuals, and music. </p><p> Specifically, they reveal the surprising ways in which inter-temporal rupture through anachronistic aesthetic forms and modes of productions can not only disrupt hegemonic notions of progressive linear time, but also question the radical imperative towards production of the new. These movements hence illuminate important implications for the tactics, tensions, and most of all thought&mdash;and preconditions for thought&mdash;that underpin contemporary progressive politics (e.g. Anti-globalization, Occupy, Black Lives Matter, revolutionaries in Rojava and especially, and most contentiously and controversially the contemporary Antifa movements) by demonstrating the radical potentialities of aesthetics, space, and anachronism for the introduction of historical rupture contained within politico-aesthetic shock. These movements are deeply concerned with democratic participation and social justice, and so we can use Morris and punk as a window in to deep analysis of tactics as utilized by the aforementioned anti-capitalist and anti-fascist movements.</p><p>

The study of Martha Graham's State Department tours and her modern dance demonstrates that between 1955 and 1987 a series of Cold Wars required a steady product that could meet "informational" propaganda needs over time. After World War II, dance critics mitigated the prewar influence of the German and Japanese modernist artists to create a freed and humanist language because modern dance could only emerge from a nation that was free, and not from totalitarian regimes. Thus the modern dance became American, while at the same time it represented a universal man. During the Cold War, the aging of Martha Graham's dance, from innovative and daring to traditional and even old-fashioned, mirrored the nation's transition from a newcomer that advertised itself as the postwar home of freedom, modernity, and Western civilization to an established power that attempted to set international standards of diplomacy. Graham and her works, read as texts alongside State Department country plans, United States Information Agency publicity, other documentary evidence, and oral histories, reveal a complex matrix of relationships between government agencies and the artists they supported, as well as foundations, private individuals, corporations, country governments, and representatives of business and culture. Because four elements of Graham's modern dance created by her biography can be traced back to ideas of American identity, human universalism, Asian culture, and the Western canon of ancient Greek, European, and biblical texts, the State Department deployed her work throughout Europe and Asia to transmit ideas about America with choreography that could demonstrate cultural convergences, or the merging of American modernist techniques with host country elements. This targeted strategy of advertisement for international leaders, which translated host-country traditions with a universal language of the modern dance, made in America, argued that the United States would and could partner with the nation states Graham visited in order to achieve foreign policy agendas.

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In the field of Human computer interaction, currently aesthetics has become one of the most frequently research dimension. Most of the researchers have found the correlation between aesthetics and usability, while some other could not discover the correlation between aesthetics and usability. This irregularity to find the correlation between aesthetics andusability makes to further research on this topic.Also based on the previous studies and empirical analysis, it is unclear the factors and issues that are affecting usability and aesthetics while analyzing the correlation. This thesis clearly discusses about the previous empirical studies on aesthetics and usability, methods followed by authors to find the correlation and the results obtained by the authors. In this study, systematic review method [12] was followed to extract the knowledge from the databases (ACM and Science Direct). Two persons have participated in the review and 13 articles from 1995-2012 are taken into the study. Three research questions are discussed in detail to analyze the correlation between aesthetics and usability and the factors affecting the correlation between aesthetics and usability. Finally this study is concluded, by discussing the reasons for irregularity in the correlation results.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2009. / Title from title screen (site viewed January 5, 2010). PDF text: iii, 194 p. : ill. (some col.) ; 6 Mb. UMI publication number: AAT 3360439. Includes bibliographical references. Also available in microfilm and microfiche formats.

Inaug.-Diss.--Münster. / Vita. Bibliography: p. 238-244.