ix, 100 p. : ill. (some col.) / In 1972 ceramist Ken Price (b. 1935) embarked on Happy's Curios , a six-year long project that he described as an homage to Mexican folk pottery. It ended with a 1978 exhibition of the same name held at the Los Angeles County Museum of Art. The project and the related exhibition integrated and critically investigated three common classifications of cultural objects: fine art, folk art, and craft. This thesis argues that the Happy's Curios project deploys these categories in a manner that challenges and deconstructs how they are used. The thesis offers a critical history of the Happy's Curios project and its reception in order to interrogate how the project engages the taxonomy of fine art, folk art, and craft, as well as its relevance to a broader art historical context. / Committee in charge: Kate Mondloch, Chair; Sherwin Simmons, Member; Brian Gillis, Member

This thesis delves into the creative process of creating characters for the play The Curious Incident of the Dog in the Night-Time. The characters that were created include: Mrs. Shears, Woman on Train, and Voice One. This thesis highlights the creative process through methods of research that dissect the authors, story, autism, and the actor’s experience throughout the rehearsal process. Sources such as interviews with autism consultants and family members of those with autism added useful information towards the creation of the characters. Research on the performance aspect was centered around the exploration of a character’s past through diagrams and analysis worksheets that are included later pages of this thesis. These combined aspects come together to create a unique set of characters that tell a story of autism and communication that is not typically told.

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The thesis explores certain aspects of Zvědavá kamera, a Czechoslovak television journal that belonged among the most progressive pieces of Czechoslovak television journalism in 60-ties. The thesis is based on interviews with 3 of the still living makers of the journal: Otka Bednářová, Vladimír Branislav, and Jaromír Kincl. Based on their testimony, contemporary documents, and available television archive material the main question is being answered as to why Zvědavá kamera was allowed to exist for such a long time despite being politically controversial and why the makers did not face repression much earlier. The most substantial episodes of the journal are being explored in detail, among all Volba povolání (The Choice of Profession) by Otka Bednářová, Spor (Dispute) and Porota (Jury) by Vladimír Branislav and Jaromír Kincl. Based on the presented facts approaches are analyzed the makers took in order to make relatively free television journalism possible within the limits imposed on them by the totalitarian regime.

The Dallas Morning News is a leader in using engagement journalism to increase and retain digital subscribers. This ethnography examined the efficacy of the engagement journalism work by the News in rebuilding trust and forming relationships with its audience. This research is exceptionally timely as more newsrooms are erecting paywalls to their content and asking their audiences to offer monetary support in exchange for greater access and engagement by journalists. This work is examined through two mass communications theories: functionalism, which says a society can be viewed like an ecosystem as a "system in balance" consisting of complex sets of interrelated activities, each of which supports the others in maintaining the system as a whole; and the dual responsibility model, which says that companies should operate in the best interests of all in the community who depend on them, not only those who benefit financially. Additionally, the work is considered from a human-interaction design standpoint to evaluate whether the News has created affordances that enable the journalists and the readers to communicate, and whether the journalists are effectively practicing service design when publishing news and information for the audience.

“Prestige and Prurience: The Decline of the American Art House and the Emergence of Sexploitation, 1957-1972” presents a historical narrative of the art house theatre during the 1960s and its surrounding years, examining the ways in which art theatres transformed into adult theatres during the 1960s and 1970s. Beginning in earnest in the immediate post-war period, art houses in America experienced a short period of growth before stagnating in the middle 1950s. With the release in 1957 of the erotically charged Brigitte Bardot film …And God Created Woman, a new era of art houses followed, one that is characterized by the emergence of sexualized advertising, content and stars. As the 1960s came, sex films like The Immoral Mr. Teas played on art film marketing strategies and even screened in many art houses. Gradually, sexploitation films began to dominate art house programs and replace European art films and Hollywood revivals. In this transitional period, however, sexploitation films used key strategies to emulate many art film characteristics, and likewise art films used sexploitation techniques in order to maintain marketability for American distribution and exhibition. By studying the promotion and programming used by art house theatres during this period, this thesis identifies and announces a number of key trends within the dynamic period for art houses. The period is distinguished by its convergence of practices related to prestigious and prurient signs, merging art and sex in ways unique to the era and to the circumstances by which sex films infiltrated art houses and art films pandered to salacious interests. It presents a new perspective on the history of art houses, art cinema, American exhibition, sexploitation films, hardcore pornography and censorship. / text

Private set intersection(PSI) is a two party protocol where both parties possess a private set and at the end of the protocol, one party (client) learns the intersection while other party (server) learns nothing. Motivated by some interesting practical applications, several provably secure and efficient PSI protocols have appeared in the literature in recent past. Some of the proposed solutions are secure in the honest-but-curious (HbC) model while the others are secure in the (stronger) malicious model. Security in the latter is traditionally achieved by following the classical approach of attaching a zero knowledge proof of knowledge (ZKPoK) (and/or using the so-called cut-and-choose technique). These approaches prevent the parties from deviating from normal protocol execution, albeit with significant computational overhead and increased complexity in the security argument, which includes incase of ZKPoK, knowledge extraction through rewinding. We critically investigate a subset of the existing protocols. Our study reveals some interesting points about the so-called provable security guarantee of some of the proposed solutions. Surprisingly, we point out some gaps in the security argument of several protocols. We also discuss an attack on a protocol when executed multiple times between the same client and server. The attack, in fact, indicates some limitation in the existing security definition of PSI. On the positive side, we show how to correct the security argument for the above mentioned protocols and show that in the HbC model the security can be based on some standard computational assumption like RSA and Gap Diffie-Hellman problem. For a protocol, we give improved version of that protocol and prove security in the HbC model under standard computational assumption. For the malicious model, we construct two PSI protocols using deterministic blind signatures i.e., Boldyreva’s blind signature and Chaum’s blind signature, which do not involve ZKPoK or cut-and-choose technique. Chaum’s blind signature gives a new protocol in the RSA setting and Boldyreva’s blind signature gives protocol in gap Diffie-Hellman setting which is quite similar to an existing protocol but it is efficient and does not involve ZKPoK.