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'Story of elsewhere' is made up of a number of interlinking parts, namely: a text component, a series of video interviews, an exhibition (also described as the thesis statement) 'Story of elsewhere' at the Stanley Picker Gallery in February of 2011, the book, 'Large Landscape', included in the Picker Gallery exhibition, and additional exhibition based materials a poster and a catalogue. All of these components of the work are linked and, together, act as remediations of the narrative of the work, its genesis, realization and its forms of expression. The central aspect of the exhibition is a series of video interviews that relate a number of stories - of elsewhere. 'Large Landscape' consists of a series of interlocking pieces that transforms hand written diary accounts into fiction, thoughts written at the time of realizing the work, notes about the making of the work, the intertwining of literary reference with imaginative interpretation, and anecdotal accounts - some of which are developed into detailed reportage. In addressing this multiplicity of narrative form, comparisons are made between the act of reading and that of writing, between seeing and hearing, between thinbking and feeling, between fact and fiction, between dreams and reality, between stranger and native, and between place and individual. In the exhibition there is an interpretative authorlal voice re-presenting what is heard with what is read, a shift between what is spoken of and what is portrayed. In 'Large Landscape', the process of reading takes the form of a written description of events. This array of formats is employed throughout to suggest the pervasive quality of narrative across experience. Plans of the future, recorded occurrences of the past, and compositions of the present are evoked through prose, scripting, description, memoir, folklore, commentary, and imagery. The methodology of collecting all this information ranges from interview to fabrication, from observation to intervention, and from complex engagement to simple expression. Within the framework of contemporary art practice and theory, 'Story of elsewhere' proposes distancing as a means of drawing nearer. Presenting the paradox of the idea that remoteness can produce proximity, a process is revealed that exposes previously hidden connections and associations - to oneself, to a place, and to another. This process, employing the language of memory, allows for a defamiliarization where new understandings emerge. My aim is to explore ever-shifting understandings of place, to offer an examination of the experience of witnessing place, to unpack the complications of subjective experience through the re-telling of remembered occurrences, memories that manifest through stories and that engage the interplay and paradox of language and naming, and to consider the inherent connections within memory of associations between the conscious and the unconscious. The connections between the different forms of the work: prose, scripting, description, memoir, folklore, commentary, and moving imagery, all interact to produce a subconscious cross-referencing. This mirrors the world we now inhabit with a place and complexity where this kind of multiple mediation of internet, TV, text, video, film etc., is pervasive and in a sense inescapable. Referencing becomes chaotic - we each find a way of navigating these elements in tandem or we select particular forms of mediation that align with how we connect and identify ourselves with others and with place. 'Story of elsewhere' seeks to address questions surrounding the place of individual experience in our complexly interrelated world, where place and images of places carry an overabundance of meanings. If the contemporary world is one where the fluid nature of individual memories easily overlaps with cultural memories, how do we come to know each other and ourselves in this landscape? In engaging with 'Story of elsewhere' it is my ambition that the viewer might answer such questions - to explore new ideas concerning self-knowledge, learned knowledge and knowledge that is sponsored by experiencing seemingly unconnected narratives, presented in multiples forms, in an investigation of place and association.

This thesis investigates Rosenthal's high-design identity and image construction primarily, although not exclusively, through the post-World War II period and into the era of the post- modern. Empirical study of Rosenthal carried out by Bernd Fritz (1984, and 1989) situates Rosenthal's commitment to high design to 1950. The present thesis isolates and discusses important threads of continuity between Rosenthal's pre- and post- World War II identity construction strategies, looking at how these asserted continuity with ceramics, familial and national pasts. As Lampugnani has observed, in many features of Germany's sweep towards renewal after World War II, tradition and continuity competed with modernism for pre-eminence in the reconstruction of the nation.' This thesis academically embeds and investigates Rosenthal within this cultural interpretation. It argues that the predominant and richest reconstruction strategy enlisted was modernity, and that Rosenthal reconstructed itself after 1945 via a range of discernable strategies informed by styles and ideologies of the modern. In this way, Rosenthal constitutes a significant case study in postwar reconstruction because it represents the second generation of industrial enterprises within Germany to look towards typologies of modernity for product and identity solutions. After critically introducing its subject in Chapter One, Chapter Two interrogates existing literature covering Rosenthal. Chapter Three states the inter-disciplinary research methodology of the thesis, commenting upon interpretive paradigms and significant influences that informed the study. From Chapter Four onwards, the thesis adopts a thematic investigation, each chapter concentrating upon an individual focal examination. Chapter Four embeds Rosenthal within the comparatively newer academic perspectives of narrative analysis; looking for the first time at the firm's development and manipulation of mythbiographical text. Chapter Five enlists hitherto unrecognised documentary evidence to offer a new contextualisation of Rosenthal's aryanisation, interpreting its product, family and manufacturing identity under the management of the infamous Deutsche Arbetisfront (or DAF, the Nazi-run, German Labour Front) during the battle to create 'model' industrial enterprises throughout Germany by 1939. Chapter Six looks at discourses of aesthetic modernity, and at an Americanisation of Rosenthal's design during the 1950s, also acknowledging the importance of Scandinavian design in the post-war German design climate. Chapter Seven addresses Rosenthal's uneasy relationships with Germany's Gute Form movement of the 1960s and 1970s, and identifies the company's prominent participation in the German cultural repatriation of a Bauhaus legacy. Chapter Eight examines Rosenthal's association with ideologies and cultural statuses of fine art, while Chapter Nine proposes both the ideologies and realities of exhibition and display served significant, strategic roles in Rosenthal's post-war identity mantle. Chapter Ten concludes the thesis by examining and interpreting Rosenthal's aspirational relationship with institutional statuses of the museum, presenting a case study in the firm's relationship with the Victoria & Albert Museum.

This thesis presents a survey of type design during the period 1987 to 1997, the decade after the widespread adoption of device-independent digital type design and typesetting software. Prompted by technological innovation, this study explores the ways in which the new technologies of type have changed type design practice. Throughout this text there is an emphasis on the cultural and economic circumstances of type design; the examination of the influence of technology on design practice is reconciled with the recognition of the broader context of that practice. Each of the four chapters that make up the body of this thesis concentrates on the design of type within a specific geographical region: The West and East Coasts of America, London and the.Netherlands. All of these locations are proposed as centres of significant contemporary type design activity. Dealing with these regions in series of distinct chapters, it is suggested that the practice of type design is not uniform across the globe, but is, in part, a product of local culture. While it is acknowledged that digital communications technologies are most likely to be used to promote globalisation, within this thesis the emphasis is on the ways in which those technologies allow the pursuit of the small-scale and the local. This thesis is original in scope; the subject of digital type design has been explored within dissertations written by graphic design students as part of undergraduate or graduate design degrees, but there has been no other sustained research into the subject at this level. Equally it is original in nature; drawing not only from the models of typographic history, but also from those of design history and cultural studies, this thesis stands apart from the body of writing that already exists on the subject. It is hoped that this text will contribute to the understanding of recent type design practice and will also indicate new paths of research into type design and typography.

My research proposes the idea of staging as the various ways in which artworks are presented and/or enacted in relation to both institutional and non-institutional contexts. This presentation (or staging) of the artwork is seen as implicit to its production and is therefore proposed as a model of doing (as art) and not merely an adjunct to the doing of art. It is however clear that the idea of art doing or acting is problematic. Artworks are confined (to use Robert Smithson's terminology) by their prefigured relationship to the structures of the institution, even in their critical function. My research is therefore tied to questions of how art can be seen to act or do as art (or possibly as non-art) given that this acting or doing is prefigured (and confined) by the contexts within which it is performed. This involves reflection upon the various contexts and configurations of this confinement with respect to contemporary binaric conceptions of artistic practice, as split between critical and aesthetic models and the management of artworks in relation to meaning (and in extension broader philosophical and theoretical ideas of language [as discourse] and/or as a system of control). From this point my research develops dialogically to embody or enact different theoretical and/or practice-led models as a series of exhibitions, installations and performances with reference to both critical strategies (as a form of staging which predicts critically the limits of its confinement), and as the attempt to think alternative conditions of possibility - of ways of doing and staging as speculative or meaningless (as art). As my research develops this can be seen to relate to contemporary discourses and debates regarding the event and the new, and in extension the rupturing or deterritorialising potential of language-as-event with reference to the writing of Gilles Deleuze (and Felix Guattari), Michel Foucault, Jacques Derrida and Alain Badiou. The final section my PhD research, both in the form of this written thesis, and the artwork FROZEN TEARS, is staged as a staging of the fiction of an event of infinite connectivity - as a prophesy or curse of radical deterritorialisation.