Mirrors of Change is a cross-sectional study of micro and macro institutional environments that envisages to analyse shifts in the sources of institutional legitimacy since the 1960s. The main aim is to understand whether homogenising macro institutions are adopted at the micro institutional levels. In order to do this, the study examines the heterogenising elements that are specific to local environments. At the micro level, the focus is on two industry associations, namely, the Cámara de Industrias del Uruguay (CIU) and Sociedad de Fomento Fabril (SFF). At the macro level, the investigation is centred on what is termed in this study as ‘World-Culture’, composed of a group of global institutions. As the study shows, World-culture is a source of new social identities, norms, rules and values through which individuals and organisations rationally organise and pursue their interests. An important question is whether the role of the nation-state in Chile and Uruguay has changed since the 1960s. The study concludes that there is a clear shift from national to global and regional sources of legitimacy. In both cases, the intensity of interaction with macro institutions (World-culture) has been greater in the 1990s compared to the 1960s. The role of the state as prime source of institutional legitimacy at the national environmental level has decreased since global institutions through carriers like International Organisations that are beyond the reach of the state. While the homogenising exogenous institutions wielded greater influence in Chilean and Uruguayan environments, the clashes with traditional domestic institutions had a different character that stimulated new and particular forms of ‘remix’. The CIU went through a process of NGOisation, while the SFF increased its interaction with the state and the region. The two cases examined in this study show distinct responses to common problems owing to different cultural environments.

This thesis critiques contemporary scholarly approaches to the modern musical mashup that rely on outdated and over-generalized Marxist frameworks. These frameworks stem from an Adornian view of the culture industries that places consumers and producers in distinct and opposing roles. The mashup is therefore seen as little more than a subversive weapon for a resistant consumer class in its fight against the hegemonic structure of the mass media. A case study of the prominent mashup artist Girl Talk is presented to illustrate how the mashup can actually function as a celebratory form and how modern technological advances have destabilized traditional distinctions between consumer and producer. These technological advances, primarily the rise of the personal computer and the Internet, have empowered many consumers to engage with and create their own media. In the process, they have forced a cultural negotiation among existing ideological forces that reflects a dynamic and ever-changing hegemonic process.

I det rådande informationssamhället där utbytet av information och digitalt material har blivit mer framträdande än någonsin tidigare har även upphovsrättsfallen kring dess användande och återanvändande blivit allt mer aktualiserade. I denna uppsats har vi sökt att studera hur normer kring skapande och originalitet har påverkat kreativa aktörers syn på återanvändning och rekontextualisering under det senare 00-talet och tidiga 2010-talet. Genom att utveckla metoden interkontextualitet har vi studerat hur människan och hennes kognitiva processer influerar rättsfall som rör just deriverade verk och/eller rekontextualisering. Den digitala tekniken har fört med sig nya normer kring skapande tillika hur information förmedlas mellan människor, vilket resulterat i förändrade konsumtionsmönster och en remixkultur där individuella verk inte ses som statiska enheter utan som levande, sammanlänkade uttryck. Kognitiva processer kan ha bidragit till denna remixkultur och i sin tur mer generaliserade attityder från mediadistributionsbolag och myndighetsorganisationer. Med bakgrund av detta söker vi att förespråka en mer öppen syn på de interkontextuella samband som binder kreativa verk och deras bakomliggande kreatörer till varandra. Att se kreativa uttryck som en del i den globala meme-pool,där människor tillsammans bygger vidare på vårt kulturella arv, kan vara ett steg i att motverka skadlig egoism kring det egna skapandet. / In the current information society where the exchange of information and digital material has grown to become more prominent than ever before, so has the copyright cases regarding the usage and reusage of said materials become increasingly actualized. In this thesis, we’ve sought to study how norms surrounding creation and originality has affected the views on reuse and recontextualization of creative actors during the latter parts of the 2000’s as well as the early 2010’s. By developing the method intercontextuality, we’ve been studying how mankind and her cognitive processes influence court cases concerning derivative works and/or recontextualization. The digital technology has brought forth new norms surrounding creation as well as how information is mediated between people, which has resulted in changed consumption patterns and a remix culture where individual works are no longer viewed as static entities, but as living, interconnected expressions. Cognitive processes may have contributed to this remix culture and in turn more generalising attitudes from media distribution companies and government organizations. We proceed to advocate a more open view on the intercontextual connections that bind all creative works and their underlying creators together. To view creative expressions as a part of the global meme-pool, where together people keep building on our cultural heritage may just be a step towards preventing harmful egoism surrounding one’s own creations.

<p><italic>Composers on the Decks</italic> is comprised of three related chapters: an original composition for amplified chamber ensemble and laptop DJ, <italic>Alleys Of Your Mind</italic>; an extended article entitled "Composers on the Decks: Hybridity of Place and Practice among Composer-DJs Gabriel Prokofiev, Mason Bates, Ari Benjamin Meyers and Brandt Brauer Frick"; and an archive of edited interviews of the four primary research subjects. Chapter 1 is the author's artistic contribution. Chapters 2 and 3 explore the emerging practices of "club classical" and what I am calling "instrumental-electronic dance music" in what may be the first academic study to examine the latter and its connections with the former.</p><p><italic>Alleys of Your Mind</italic> is a work for seven wind instruments, soprano and laptop DJ composed as social dance music, intended to be performed in a nightclub. Its repetitive style, electronic dance beats and long-form instrumental writing create a musical hybrid of classical compositional techniques and electronic dance music (EDM). The work contains three movements: the first and longest movement is paced at a dance tempo of 124 beats-per-minute; the second movement at half of that speed, 62 beats-per-minute; and Movement 3 returns to the original tempo. The movements are performed without pause and leave generous space for the DJ to improvise with audio effects and an extended interlude in Movement 2. In addition, <italic>Alleys Of Your Mind</italic> has a documentary dimension: audio samples of medical machinery and voices, recorded by the composer during his recovery in a neuroscience intensive care unit, feature in the second and third movements. </p><p>Chapter 2 introduces the related practices of "club classical" and "instrumental-EDM," explaining the musical connections between contemporary classical and EDM and interpreting the hybrid social environments where this music lives. The first section deals with the club classical phenomenon in the practices of composer-DJs Gabriel Prokofiev and Mason Bates, and presenters such as Yellow Lounge. Prokofiev leads Nonclassical Records and hosts monthly club nights in London, during which live sets of recent classical works alternate with sets from Nonclassical's resident DJs. The label's releases adapt classical music to an EDM format, featuring new classical compositions and electronic remixes of these works. Bates presents Mercury Soul, a party in nightclubs that links DJ sets of EDM with live classical sets via composed, electro-acoustic interludes; these nights involve a director, conductor, and a chamber ensemble from a major symphony. Yellow Lounge situates older classical music in nightclubs and employs DJs who spin classical works between live sets. Ari Benjamin Meyers composes instrumental-EDM, music that features classically influenced composition with a dance focus, and has performed it with his Redux Orchestra in Berlin's late night dance clubs from 2005-2012. Brandt Brauer Frick, an EDM trio, formed an 11-piece ensemble of mostly classical instruments that plays their orchestrated techno-like tracks in clubs and concert halls. </p><p>Using social and performance analysis, the chapter describes these phenomena as musical and social hybridity. Club classical and instrumental-EDM evince a desire on the part of event planners and classically trained composers to connect on a more physical and social level with their audience. Many of the composers and presenters express a wish that through these practices, classical music can expand beyond the concert hall and potentially see a demographic change in its audience over time. The chapter also delves into the narrow demographics of the classical-EDM scene, the difficulties of instrumental-EDM, and situates the author's dissertation composition, <italic>Alleys Of Your Mind</italic>, and its presentation at the Duke Coffeehouse, within the greater practice of instrumental-EDM. </p><p>Chapter 3 presents edited versions of the author's interviews with the study's four primary research subjects. This documentation, and the dissertation as a whole, is paired with a website, <underline>composersonthedecks.org</underline>, which provides additional information, photographs, links, and audio and video of <italic>Alleys Of Your Mind</italic>.</p> / Dissertation

Esta dissertação analisa o filme Tropa de Elite como fio condutor de uma discussão sobre sua repercussão reverberação em algumas mídias tradicionais e, principalmente, em rede online. O objetivo principal desta pesquisa é demonstrar escrita e audiovisualmente uma análise além-fílmica proposta, como base de um possível sistema metodológico metalinguístico, onde os códigos culturais ao serem pesquisados, decupados e então reapropriados formam uma representação interpretativa em que notações e registros, bases dos valores significativos, são reorganizados a partir das relações de elementos internos e externos à obra percebendo-os, portanto, como elementos em rede. Percebemos desta maneira que a prática da pesquisa acadêmica, de uma forma muito sintetizada, pode ser conceitualizada a partir de uma prática comum ao audiovisual: o remix. Pesquisamos autores, periódicos, imagens, dados offline e online, os analisamos remixando-os e atribuindo-lhes um novo valor, tese. E assim, nos interrogamos se as Retóricas Audiovisuais em rede implicam a um consumo entre o espetáculo e a vigilância ou ao discurso de verdade implícito numa estética de realidade? A partir de uma perspectiva crítica, percebe-se claramente um enfrentamento com o banco de dados em rede, onde o anseio por uma possível metodologia de criação organizativa desta prática de remix audiovisual online para fins acadêmicos, apresenta-se uma ferramenta-projeto YouToRemix-YouTubeMix (Apêndice I/IV) que foi sendo desenhada conjuntamente a esta pesquisa de mestrado para futuro desenvolvimento. Para tanto, é aqui entregue no final deste texto de dissertação um anexo e quatro apêndices, pertinente material complementar à pesquisa aqui apresentada. / This research analyzes the movie Elite Squad as a lead discussion about its reverberation in some traditional media and mainly the Internet. Our main goal is to demonstrate a beyond movie analysis, by an audiovisual and written form as a new metalanguage methodological system where cultural codes researched, broken down for consideration of constituent parts and then reappropriate creating an interpretative representation in which records and notes are as the bottommost layer of significant value are reorganized from relations between external and inner elements of this movie, therefore we can realize them as networked components. Hence, we understand the academic research practice as an audiovisual common practice: the remix (or mash up). We research authors, journals, images and we analyze this on line and off line data to remix them generating a new value, the thesis. Thus, we ask ourselves: does the networked Audiovisual Rhetoric implicate a consumption between surveillance and spectacle or it is necessarily circumstance to the implied true discourse (Foucault\'s \"Discourse on Language\", 1970) in an aesthetic reality? From a critical and creative perspective weve cleared noticed the struggle with the network database, where the anxiety for a possible organized creation methodology of this online audiovisual remix practice for academic means, presents a tool-project YouToRemix-YouTubeMix (Appendix I/IV) which has been designed together with this research for masters degree for future development. Consequently we deliver with this dissertation four appendixes and one attachment regarding the complimentary material to the research here presented.

The thesis describes design and aplication of 3D FDM printer type of delta. The first part describes methods of rapid prototyping. The second part describes 3D printers type of delta. The third part deals with construction and calibration of delta printer. In the fourth part are made suitable modifications to the design of the printer, to improve the quality of printing, which is then applied on a sample product. The final section is devoted to technical and economic evaluation.

En legering mellan gammalt och nytt - mellan dåtid och framtid. En legering mellan en befintlig brutalistisk struktur och en ny amorf struktur. Ett möte mellan betong och glas och stål. Kvarteret Domherren som inrymmer Arkitekturskolan är på väg att förändras. Skolan ska flytta till nya lokaler och kvar blir ett omdebatterat hus. Denna betongbyggnad bevaras och genomgår en urban remix - studentbostäder, kontor och publika verksamheter flyttar in i de gamla undervisningslokalerna. För att detta ska fungera genomgår byggnaden stora förändringar och införlivas bland annat med en ny kontrasterande struktur som tillsammans med de befintliga delarna bildar en dynamisk legering.

No description available.

No description available.

This paper explores the influences, ideas and motivations behind my MFA thesis exhibition. It primarily focuses on how I developed my work for the show in connection to my previous work as well as work created by other artists who explored the impacts of new media in the last decade. With the advancement of social media, digital technologies no longer have their infamous coldness. Our perceptions and the metaphors in language are all reflected onto the machines we create while in return they also shape and redefine our lives. It becomes increasingly difficult to talk about dialectics such as machine-human, virtual-real, and nature-culture. With the aid of some humor, I attempted to reflect on the marriage of these old oppositions and this paper will discuss the foundations of these ideas as well as my practice in general.