This qualitative study highlights how independent artists experience various role conflicts and how they use boundaries. The study takes its point of departure from previous research on how boundaries and role conflicts arise in several different professions. Four separate qualitative interviews have been analyzed according to a thematic analysis. The interview questions focused on how independent artists combine their commitments, which role conflicts they experience and how they make use of boundaries.

Pop culture and social media have become a prime source of entertainment and communication. The current study focuses on the potential effects of consuming this form of media and how it affects our sexual cognitions and behaviors. A sample of nine hundred and two university students were given self-reporting questionnaires concerning demographics, sexual cognitions, and exposure to sexual content in music. An analysis of music artist’s posts on social media was also performed. It was hypothesized that artists who have sexual content published in their work will also have the same amount of sexual content on social media. However, there were no significant correlations found between these sources. This study found that exposure to sexual content on social media could increase the chances of acquiring certain sexual cognitions. The current study also aimed to analyze the common characteristics of artist’s that post a higher frequency of sexual content on social media. This study found that female artists tend to post more sexual content on social media compared to male artists, as well as music groups containing both male and female artists.

This thesis looks at the modern recontextualization of the illuminated book. Utilizing an interdisciplinary approach to English literature and the arts, it illustrates the dialectic between word and image. In my writing, I explore artists’ books as a physical representation of the constant dialogue of the verbal-visual relationship and how they affect each other. In this endeavor, I create an artist book, a modern bestiary that alludes to the myths and folklore of the Indo-Caribbean, specific to the country of Guyana.

This research contributes to current understandings of how the process of learning unfurls temporally during coaching conversations. This experience has been obtained through first-hand lived experience, in particular, my active participation as a coachee in a series of one-to-one coaching conversations with two professional coaches. To assist in developing and enriching these understandings further I have crafted a research design with a two-stage process. And a hybrid methodology drawn from Interpretative Phenomenological Analysis and Dialogical Methods. This approach is beneficial in enabling the complexity of self-other relationships that unfold within coaching conversations to be fully articulated. I have chosen to adopt autoethnography as a research method in stage one of this research, and interviews in stage two, respectively. Autoethnography enables a complex exploration of first-hand lived experience, providing a forum in which reflexive dialogues between self and other can emerge. Thus, allowing multiple perspectives to be heard. In stage two I have interviewed 6 professional coaches, facilitating an additional dialogue to unfold between self and others, enriching this research. Critically, within this research, the self is described as malleable and non-identical with itself, where on encountering others in external and inner dialogues it experiences challenges and struggles with the unknown and unfamiliar. Significantly, through this experience the self is transformed. Finally, this process can be understood as artistic, since this research describes an aesthetic metaphor informed by Bakhtin and Gell, in which coach and coachee - described as the recipient are actively engaged in emotionally crafting and shaping the other.

No description available.

No description available.

No description available.

No description available.

Architecture occurs at the meeting of interior and exterior forces of use and space. These interior and environmental forces are both general and particular, generic and circumstantial. Architecture as the wall between inside and outside becomes the spatial record of this resolution and its drama. And by recognizing the difference between the inside and the outside, architecture opens the door once again to an urbanistic point of view. Robert Venturi It is the role of design to adjust to the circumstantial. Louis Kahn The existential purpose of building (architecture) is therefore to make a site become a place, that is, to uncover the meanings potentially present in the environment. Christian Norberg-Schulz / Master of Architecture

Ce mémoire de maîtrise se penche sur la place du cinéma analogique à l’ère du « tout-numérique », en particulier dans le domaine du cinéma d’avant-garde. Le premier chapitre se consacre, d’un point de vue historique et théorique, sur «l’air du temps cinématographique», c’est-à-dire, sur le statut de la pellicule dans un contexte où l’on assiste à la disparition du format 35mm, tout aussi bien comme support de diffusion dans les salles de cinéma qu’à l’étape du tournage et de la postproduction. Face à une industrie qui tend à rendre obsolète le travail en pellicule, tout en capitalisant sur l’attrait de celle-ci en la reproduisant par le biais de simulacres numériques, il existe des regroupements de cinéastes qui continuent de défendre l’art cinématographique sur support argentique. Ainsi, le deuxième chapitre relève la pluralité des micros-laboratoires cinématographiques qui offrent des formes de résistance à cette domination du numérique. Nous nous intéresserons également, en amont, aux mouvements des coopératives tels que la Film-Maker’s Cooperative de New York et la London Filmmaker’s Coop afin de comprendre le changement de paradigme qui s’est opéré au sein de l’avant-garde cinématographique entre les années 50 et 70. Les mouvements de coopératives cherchaient avant tout une autonomie créative, tandis que les collectifs contemporains dédiés à la pellicule assurent la pérennité d’une pratique en voie de disparition. Finalement, le troisième chapitre propose une étude de cas sur le collectif de cinéastes montréalais Double Négatif. Ce chapitre relate tout aussi bien l’historique du collectif (fondement du groupe lors de leur passage à l’université Concordia), les spécificités qui émanent de leur filmographie (notamment les multiples collaborations musicales) ainsi que leur dévouement pour la diffusion de films sur support pellicule, depuis bientôt dix ans, au sein de la métropole. À l’image de d’autres regroupements similaires ailleurs sur la planète (Process Reversal, l’Abominable, Filmwerplaats pour ne nommer que ceux-là) le collectif Double Négatif montre des voies à suivre pour assurer que le cinéma sur pellicule puisse se décliner au futur. / This master’s thesis reflects upon the place of analogue cinema in the new digital era of film, particularly within the avant-garde. The first chapter explores from a historical and theoretical point of view the current cinematographic trends, i.e., the status of celluloid in the context of its disappearance, whether it is as a projecting medium or at the production and postproduction stage. Facing an industry which encourages the obsolescence of celluloid (but continues to attempt to reproduce its aesthetic through digital means), there exists filmmaking collectives which continue to defend the use of film in their practice. The second chapter reveals the pluralism of cinematographic micro-laboratories which offer a form of resistance to digital domination. In order to understand the paradigm shift which occured during the 1950s and 1970s within the avant-garde we will also examine the cooperatives movement such as the Film-Maker’s Cooperative in New York and the London Filmmaker’s Coop. The cooperatives movement was above all searching for artistic autonomy, whereas comtemporary collectives dedicated to celluloid tend to ensure the preservation of an endangered practice. The third chapter proposes a case study on the Montreal film-collective Double Negative. This chapter relates the history of the collective (creation of the group during their studies at Concordia University), the specificities of their filmography (particularly their musical collaborations) as well as their devotion to the diffusion and projection of films on celluloid. Like other similar groups (Process Reversal, l’Abominable, Filmwerplaats, to name a few) the Double Negative collective paves the way to ensure the survival of the celluloid medium in cinema.