Spartan Daily, March 25, 1992

Volume 98, Issue 43https://scholarworks.sjsu.edu/spartandaily/8256/thumbnail.jp

Creating the Role of Myra Arundel in Hay Fever

This document is a thesis project submitted in partial fulfillment of the Master of Fine Arts degree in theatre. It is a detailed account of author Morgan Benson’s artistic process in creating the role Myra Arundel in Minnesota State University, Mankato’s production of Hay Fever in Fall of 2021. The thesis project chronicles the actor’s artistic process from pre-production through performance in five chapters: a pre-production analysis, a historical and critical perspective, a rehearsal and performance journal, a post-production analysis and a process development analysis. Appendices and works cited are included

Kettle's Yard: anti-museum. H.S. Ede, modernism and the experience of art.

KETTLE’S YARD: ANTI-MUSEUM H.S. Ede, modernism and the experience of art Elizabeth Anne Fisher ABSTRACT This thesis attempts to tackle the question of what is, or more precisely, what was Kettle’s Yard, by exploring the intellectual origins of the institution initially conceived and developed by H.S. Ede. Ede bought Kettle’s Yard in 1956, and began to welcome visitors into his home in 1957. As a private initiative, Kettle’s Yard promoted an unusually intimate encounter with art. Following its transferral to the University of Cambridge in 1968, Kettle’s Yard still offered a qualitatively different experience to that of a conventional museum. Over the last fifty years, the ineffable quality of the visitor’s experience has inevitably changed. One of the motivating questions for me, through this research, has been how or even whether Kettle’s Yard now differs from other collection museums, and what that means in terms of understanding the institution Ede originally founded. It was also my aim to situate Kettle’s Yard in relation to a rich history of experimental museum practice and private philanthropy. My approach has been to map a genealogy of key ideas and influences that shaped Kettle’s Yard. My research focuses primarily on the interwar period, which roughly coincides with Ede’s time in London between 1919 (when Ede returned to London after active duty in the First World War) to 1937 (when he resigned from the Tate Gallery and moved to Tangier). This was a formative chapter in Ede’s life. I also seek to draw pertinent comparisons with other collection museums and ‘modernist’ institutions from that era. I begin with an introduction to Kettle’s Yard and to Ede himself. Chapter 2 looks at Ede’s activities and intellectual interests in the interwar period, taking into account the wider cultural context with which he is engaged. In Chapters 3 and 4, I examine the prevailing themes of spirituality and the home in relation to Ede’s engagement with modernism, and his relationships with artists and other key figures. I trace the eventual expression of Ede’s beliefs in the collection and interiors at Kettle’s Yard with reference to relevant archival materials, including Ede’s book on Kettle’s Yard, A Way of Life (1984). Finally, I come back to my original question to assess what Kettle’s Yard means today

The Design of a Processing Element for the Systolic Array Implementation of a Kalman Filter

The Kalman filter is an important component of optimal estimation theory. It has applications in a wide range of high performance control systems including navigational, fire control, and targeting systems. The Kalman filter, however, has not been utilized to its full potential due to the limitations of its inherent computational intensiveness which requires off-line processing or allows only low bandwidth real-time applications. The recent advances in VLSI circuit technology have created the opportunity to design algorithms and data structures for direct implementation in integrated circuits. A systolic architecture is a concept which allows the construction of massively parallel systems in integrated circuits and has been utilized as a means of achieving high data rates. A systolic system consists of a set of interconnected processing elements, each capable of performing some simple operation. The design of a processing element in an orthogonal systolic architecture will be investigated using the state of the art in VLSI technology. The goal is to create a high speed, high precision processing element which is adaptive to a highly configurable systolic architecture. In order to achieve the necessary high computational throughput, the arithmetic unit of the processing element will be implemented using the Logarithmic Number System. The Systolic architecture approach will be used in an attempt to implement a Kalman filtering system with both a high sampling rate and a small package size. The design of such a Kalman filter would enable this filtering technology to be applied to the areas of process control, computer vision, and robotics

Dissenting Dalit Voices: An Analysis of Select Oral Songs of Dalit Women in Kerala

The caste and gender configurations in literary and socio-historic spheres that misrepresent or eliminate Dalit women’s voices in mainstream chronicles uphold the notion that caste subjugation has been unresponsively endured by Dalit women. This depiction of the gendered caste subaltern in the mainstream narratives is interrogated and countered by the oral songs of Dalit women in Kerala. This paper examines how the songs as the sites of the register of the voices of Dalit women hold cultural and historic significance carrying the bearings of the Dalit feminist standpoint. The oral songs which contain the feminist consciousness of the gendered caste subaltern in the nascent form provide a lineage to contemporary Dalit feminist writings

February 13, 1932

The Breeze is the student newspaper of James Madison University in Harrisonburg, Virginia

Writing//painting; l’écriture féminine and difference in the making

This thesis critically interrogates the concept and practice of l’écriture féminine as proposed by Hélène Cixous, Luce Irigaray and Julia Kristeva to challenge phallocentric structures embedded in language and culture. It examines why abstraction has been so problematic for women and feminist artists and why, despite l’écriture féminine being utilised in art practice it came to a standstill in the mid-1990s, ceasing to provide possibilities for women’s abstract painting. By using l’écriture féminine as a ‘lens’ with which to see abstract painting, I have distilled particular aspects of it and put forward my own concept and practice of peinture féminine to move on from these problematics. I demonstrate that whilst the historicity of Modernist abstraction is embedded in abstract painting, it is not bound by rigid and fixed structures and conventions and these are not phallocentric per se. Peinture féminine as defined here reconceptualises abstract painting as a spatiality comprising multiple, shifting and heterogeneous spaces. In doing so, it expands abstract painting internally and opens up these conventions non-oppositionally. By elaborating on the ‘feminine’ in relation to current thinking about subjectivity, I argue that the unfolding of abstract painting through its ‘opening out’, enables an enfolding of difference within this spatiality. Peinture féminine offers new ways of understanding how difference can manifest through material production, rather than a focus on representing difference through a ‘feminine’ aesthetic. I draw on my own art practice and the work of other artists, locating this study as ‘art-practice-research’ through a ‘writing//painting’ approach which underpins my research; considering the textual as not being transposed into the painterly but as intertwined within this relation. This approach is productive to non-oppositional thinking and elaborates on the theory/practice relation as entangled, providing possibilities for ways of thinking about Fine Art doctoral research