There has been a medial success in Swedish fashion during the last years. If one studies these companies they tend to tell another story financially. Regardless of financial or medial success artistically driven fashion brands have been a big part of the development of Swedish Fashion. For artistically driven fashion companies the Artistic freedom tend to be the main driving force and the very reason for establishing their own brand. There is a need to balance between artistic and commercial interests, which could imply that designers need to design more commercially marketable garments to finance the conceptual department. Financial resources can create artistic freedom but bringing in wrong investors could do the opposite. The financial dilemma of gaining economic resources by designing more marketable garments makes the brand image loose credibility since it tend to rely on the artistic direction. Conclusion: Through out the study we have identified that there exist an internal conflict inside the artistically driven fashion designer. The corporate artist exists of the creative mind, which represents the intrinsic values that motivate and inspire the artist. To be able to run a fashion brand the artist also needs to have managerial and entrepreneurial skills to be able to develop. These two perspectives often collide and the designer needs to make some difficult choices. / Program: Master in Fashion Management with specialisation in Fashion Marketing and Retailing

This dissertation focuses on the relationship between new American music and National Public Radio (NPR) during the 1970s and 1980s. NPR directly supported American experimental music, most often billed as "new music," through programming that both consolidated a tradition and extended it by commissioning new works. I address three exemplary broadcasts, proposing that public radio utilized existing historical narratives of musical experimentalism while simultaneously revising and strengthening those narratives. I demonstrate ways in which the shows themselves, as well as their planning phases and promotional materials, served to gather individuals and musical practices together, defining and constructing musical experimentalism in the process. Chapter 1 covers the importance of sonic experimentation in NPR's original Statement of Purposes, claiming that author William Siemering's attention to sound created a climate that was especially hospitable to musical and radiophonic experimentation. In Max Neuhaus's Radio Net (1977), NPR's very infrastructure became a musical instrument, showing the radical potential of NPR in its early days. Chapter 2 chronicles the production history of RadioVisions (1981) to establish the ways in which NPR's imaginary listeners were essential during its planning phase: in the conception of the show, in the grant proposal to the NEA, and in the show's content. I conclude that experimentalism's potential for imagining an NPR audience allowed "new music" to become "American experimental music" as the RadioVisions project moved through the infrastructure of NPR. Chapter 3 explores the cultural valences and authorities of the musical voices in RadioVisions's segments "Details at Eleven," "Shoptalk," and "The Oldest Instrument," as well as Schuller's hosting voice in the context of public radio broadcasting. Chapter 4 presents a history of the composition, production, and radio broadcast of Maritime Rites (1984). I argue that the differences between Maritime Rites and RadioVisions were, in part, representative of changes in NPR from 1981-85, particularly the role of the newly established Satellite Program Development Fund in supporting adventuresome programming. Maritime Rites served not only as a sonic documentation of the Eastern seaboard, but also as a sonic documentation of the landscape of improvisational experimental music in the mid-1980s, enhancing its fit on NPR as new music/radio documentary. Chapter 5 offers an analysis of the second segment of Maritime Rites, which featured Pauline Oliveros and her improvisation "Rattlesnake Mountain," as well as the voice of Karen MacLean (the only female lighthouse keeper in the series). This dissertation contributes to a deeper understanding of NPR's history by addressing lesser-known yet significant cultural programs, as well as to a broader musicological understanding of how public radio contributed to the construction of musical experimentalism.

This study addresses the intersection of the avant-garde and mass culture through a close reading of three singular works from the Weimar Republic in Germany. Bauhaus founding director Walter Gropius (1883-1969) designed a "Total Theater" (1927, unbuilt) whose multiple screens encircled an interior structure for the presentation of twelve simultaneous film projections. In 1930, Hungarian-born Bauhaus professor László Moholy-Nagy (1895-1946) completed a rotating, metallic sculpture for the projection of light effects, which has assumed a number of different configurations within theater, film, and the museum since its inception in 1922. In the 1910s and 20s, Swedish-born Viking Eggeling (1880-1925) experimented with the properties of line by transferring static, two-dimensional collages from the animation table to the cinematic screen. In addition to undoing experimental film's logic as a genre, this study addresses the epistemological questions each of these works introduce--namely, the production of artistic and scientific knowledge in the early twentieth century, the evidentiary status of reproducible media, and the institutional framing of works of art. Rather than establish a genealogy between early twentieth-century kinetic and light experiments and the "expanded cinema" practices of the 1960s and 70s, this dissertation approaches these objects as "adjacencies" to the cinematic dispositif, within which their relationship to art and politics, technological determinism, the ontology of the work of art, and the compartmentalization of media are examined.

This dissertation is comprised of a recent series of compositions, titled the Nightmare series, and this thesis. The three compositions are Nightmare for JACK (a ballet) (2013), Second Nightmare, for KIKU/2.5 Nightmares for Jessie (2014), and Child of Chimera (2015). The thesis describes the aesthetic impulse behind this series of works, and identifies sociological and technological elements in the work. The primary topic of investigation is the “Uncanny Valley,” a term used primarily in robotics and gaming in reference to empathy towards androids and digital humanoid characters. This thesis investigates the uncanny valley in film, gaming, and psychology; examines the potential of the concept for use in experimental art; and describes the methods I have used to incite the emotion in my compositions.

O Rotting Sun is a pair of long narrative poems that leap, spanning over an epic-length manuscript—175 pages of prose block, lyrical verse, and projective verse. Its chief poetic-operational modes are: inclusion, fragmentation, textual destructions, intentional omissions, intentional misspelling, large narrative leaps; all of which engage a poetics of doubt and multiplicity. O Rotting Sun is a jarring and jangly poem of resistance, intended if possible, for being read aloud and argued with: a provocation of intense meditation, reflection, and when successful, disintegration of anger & agonism—followed by a reintegration of the reader back into a community of change and hope. These poems are an invitation to that hero’s journey which is sometimes painful, sometimes beautiful, sometimes both. I wish to welcome my heroic, wonderful, deep reader into this new world of O Rotting Sun.

My argument is that documentary texts can be transformed into artworks via the processes of intertextuality and detournement, when they are exhibited as video installations. I argue that early 1920s modernist avant-garde painter-filmmakers shared with contemporary documentary video installation painter-filmmakers particular tendencies, characteristics and interests. The bodies of work in each period explore the generic properties of documentary through (primarily) abstract visual associations, rather than through a conventional linear space. Important 1920s modernist avant-garde films by Dziga Vertov, Luis Bunuel, Salvador Dali, Joris Ivens, Man Ray and others will be considered in highlighting the relationship between documentary and avant-garde cinema. I use this discussion as a basis for examining my own work: for the creative component of this thesis, I filmed and edited a three screen video installation. I interviewed 67 Australian Muslims and used these interviews to explore the use of documentary in video installation. The theoretical framework I used is based on the following: Julia Kristeva?s notion of intertextuality, derived from Mikhail Bahktin?s work on dialogism, to interpret how documentary texts take on conventions appropriate to other genres; Guy Debord?s concept of d鴯urnement to provide a theory for the reuse of pre-existing artistic elements found in documentary film; genre theory to interpret interactions between documentary texts; Ludwig Wittgenstein?s notion of ?family resemblance? to explore the indistinct boundaries of documentary; and Pascal Beausse?s analysis of how artists have hijacked documentary. I also draw on Bill Nichols?s analytical framework of documentary modes (poetic, expository, observational, participatory, performative, reflexive) to explore documentary in cinema and installation art. The documentary genre is not habitually discussed outside film, television, photography or the web. My research demonstrates that the genre has found its place in other areas of artistic practice and can also apply to medium of video installation.

Intercultural theatre is a highly contested form of theatre. Critical discussions over its position as a revitalizing force or a colonial instrument have raged on for almost thirty years. An investigation into two theatre directors who have often been in the spotlight concerning these critical discussions, French theatre director, Ariane Mnouchkine, and Japanese cult icon, Shji Terayama, will illuminate the possibility of moving beyond such oppositions. Both have employed Asian theatre techniques and aesthetics, specifically Japanese, to produce highly theatrical performance events which actively engage their spectators. However, their methods vary from elegant integration to confrontational provocation. An extensive exploration into both artists prolific theatre, and the established theories concerning the process of creating intercultural theatre postulated by a range of theorists including, Patrice Pavis, Rustom Bharucha, Jacqueline Lo and Helen Gilbert, will reveal a fresh look at interculturalism where cross-cultural theatre exists on a continuum.

Texte remanié de: th. doct.--München--Universität, 2000. / Bibliogr. p. [455]-508.

Diss.--Berlin--Univ. der Künste, 2006. / Bibliogr. p. 214-237.

Reproduction de : Thèse de doctorat : Etudes Hispaniques : Paris8 : 2007. / Titre provenant de l'écran-titre. Bibliogr. f. 570-584. Index.