This thesis proposes that Beckett’s engagement with art enabled him to develop a visual stage language through images which fed into his staging and through an understanding of the principles and ...elements of art. Therefore using the lens of visual art enables us to focus on the staging of Beckett’s plays as evidence of him experimenting with new visual forms for failure. An extensive use of comparisons with modern art and the Old Masters builds on current scholarship, introducing fresh insights. I propose the concept of subversion as an element of Beckett’s minimalism as a result of investigating the differences between Old Master paintings and his visual stage language. This systematic and wide-ranging investigation introduces many examples of how Beckett used the components of the mise-en-scène, such as lighting, costume, make-up, movement and gesture to create a visual aesthetic of failure. Use is made of a broad range of material including Beckett’s production notebooks and records from actors, directors and designers. Beckett’s writings on art emphasised the failure of representation and the need to show failure in the work itself. The visual elements I include under the aesthetic of failure are: abstraction, failed figure, figure in the stage construct, fragmentation, grotesque, liminality, minimalism and repetition. Merleau-Ponty’s grounding of perception in the body’s experience of its world and his linking this to visual art is used to throw light on aspects of Beckett’s problematization of embodiment. This thesis demonstrates that Beckett’s theatrical experimentation created a visual body of work: it aims to recalibrate the relative importance of the visual versus the spoken text, and therefore promote further scholarly debate.
Minimalism stands as the key representative of 1960s radicalism in art music histories—but always as a failed project. In The Names of Minimalism, Patrick Nickleson holds in tension collaborative ...composers in the period of their collaboration, as well as the musicological policing of authorship in the wake of their eventual disputes. Through examinations of the droning of the Theatre of Eternal Music, Reich’s Pendulum Music, Glass’s work for multiple organs, the austere performances of punk and no wave bands, and Rhys Chatham and Glenn Branca’s works for massed electric guitars, Nickleson argues for authorship as always impure, buzzing, and indistinct. Expanding the place of Jacques Rancière’s philosophy within musicology, Nickleson draws attention to disciplinary practices of guarding compositional authority against artists who set out to undermine it. The book reimagines the canonic artists and works of minimalism as “(early) minimalism,” to show that art music histories refuse to take seriously challenges to conventional authorship as a means of defending the very category “art music.” Ultimately, Nickleson asks where we end up if we imagine the early minimalist project—artists forming bands to perform their own music, rejecting the score in favor of recording, making extensive use of magnetic type as compositional and archival medium, hosting performances in lofts and art galleries rather than concert halls—not as a utopian moment within a 1960s counterculture doomed to fail, but as the beginning of a process with a long and influential afterlife.
The desire to pursue formal and functional excellence, simplicity in content and form, originality and compatibility with environmental changes, it is one of the most important things that the ...designer in general and the interior designer in particular seek. This will study the trend of the new reductionism in design in terms of features and technology and the link between them on the one hand and environmental sustainability in the design formally and functionally. The various materials will be studied and how to deal with them technically to recycle them to design and implement various products used in the internal and external space, and a new vision will be presented for the elements of contemporary design. (Shape, space, function...) on the one hand and put forward a new vision for the development of the already existing traditional methods of recycling different raw materials, on the other hand, the impact of advanced technology and how to employ it to reach designs with new reductive features (precision) will be studied. Technological and engineering, purity, repetition, unity and simplicity) and environmental sustainability in terms of recycling. Where it was concluded that the use of recycling technology for various wastes is one of the most important ways to design an integrated interior space that is environmentally compatible with the surrounding environment, as it is very necessary to devise new and atypical rational solutions to existing problems and needs in order to preserve the environment and reduce pollution rates to maintain human health and safety and reduce the depletion of resources and energy from the natural environment by reducing carbon emissions and reducing the impact of climate change and the importance of studying the relationship between the designs of recycled products on the one hand and between lighting and colors in the interior space on the other hand to add a new dimension with psychological effects in it.
The research investigates the concept of Minimalism as one of effective trends in contemprary architecture and interior architecture domain. Minimalism proves notable implementation in many countries ...especially in the filed of interior architecture. The research aims to realize more understanding about the concept and its trends as inspiring style and to demonstrates its theoretical and practical aspect through three Axes: The first axis: Focuses on minimalism terminology, concept and its architecture language, the main aspects of the concepts and how designers understand its trends and objectives. Some famous opinion from professionals about minimalism included. In addtion the project consults a well-known dictionaries about the exact meaning of minimalism. The second axis: looking forward to Minimalism main features and practical using of interior architecture elements, concepts and tools. This axis demonstrates the most effective principles and elements minimalism concpt used.The axis demnostrates funcion priority, materials, focal point, color implementation, light , furniture, adequate empty areas ,surfaces and textures, objective cost as elective elements and factors in minimalism concept. The third axis: A case study of villa at Telal village in egyptian north coast, Sidy Abdel Rahman bay, Alexandria Marsa Matrouh road, kilo 143. The design of project mainly depended on Minimalism concepts and features with some modification due to customer desires and requirements.
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•Explores the impact of institutionalized minimalism on psychological ownership (PO) within the military environment.•Identifies the targets of ownership and their meanings ...experienced by young cadets and in a dematerialized professional environment.•Uncovers two new sub-phenomena: “wandering” PO, highlighting the shift of excessive ownership towards other targets when one is not appropriated; and “reversed” PO, reflecting the feeling of being owed by the institution.•Broadens the classification of PO targets to include a contemporary category: “virtual possessions”.
In an era where capitalism and sustainability must cooperate to preserve resources, a new minimalist lifestyle trend has emerged. While material possessions offer comfort, immaterial possessions like relationships provide meaning and purpose. Psychological ownership suggests people can become attached to both material and immaterial objects, even without legal ownership. This article explores ownership targets and their meaning in a minimalist professional setting through a qualitative study of 84 interviews. The research expands existing PO classifications, by introducing a new category, and explores the link with team cohesion. It also provides insights into the development of possession feelings, proposing concepts like “reversed” psychological ownership, where individuals feel “owned” by their organization instead of owning it, and “wandering” psychological ownership, highlighting the fluidity and adaptability of perceived ownership feelings.
In the 1987 film ‘Wall Street’, apart from telling the world that “Greed, for lack of a better word, is good.“, Gordon Gekko, portrayed by Michael Douglas, notably remarked, “I create nothing. I ...own.” As a result, the last part of the millennium was given to excess and the never-ending pursuit of wealth and material possessions. However, recent years have seen an alternate mindset take shape. From the ‘KonMari’ method to Dorothy Breininger's ‘five-point scale’, we are now being urged to discard, declutter, and refrain from purchasing. But there are questions about why such a ‘minimalist’ lifestyle resonates with so many consumers worldwide. Building upon self-determination theory, the objective of the current research is to reveal the motivational goal (what), intrinsic (why) and extrinsic (when) motives that underlie minimalistic consumption. Our study examines the relationship between minimalism and perceived transcendence, along with the mediating and moderating roles of moral identity and descriptive norms, respectively. Findings from a cross-sectional sample of 529 shoppers show that minimalistic value enables consumers to fulfill their aspiration for transcendence, and that moral identity and descriptive norms explain why and when, respectively, consumers are motivated to reach this aspiration. Our study signifies the importance of cultivating the value of minimalism that helps navigate human well-being since its development provides us with a better understanding of our self-awareness as a membership in a universal unity of being, thereby expanding moral identity from self to all. We also provide theoretical and practical implications for consumers, marketers, and policymakers and shed light on further research in this emerging research domain.
Minimalism is a theme on the rise in consumer literature, especially when it involves fashion and minimalist aesthetics. Despite this, there are few studies dedicated to discussing what reactions the ...minimalist aesthetics may produce on the perceptions of others about minimalists as individuals. With this essay, we fill this gap by discussing what image minimalist aesthetics conveys about people who adopt a minimalist clothing style. We discuss, therefore, how minimalists may be perceived as more competent and less warm people in the eyes of others, in addition to being able to convey an image of rationality in decision making rather than feelings. Finally, this essay opens up the possibility for a wide range of future studies on minimalism in consumption.
•Extant research on minimalism views consumers as homogeneous and not heterogeneous.•The antecedents and motives of minimalistic consumption are identified.•The research gap is addressed through ...developing a consumer typology.•Firms can design strategies to satisfy the unique goals for each consumer segment.
Minimalistic consumption has received increased attention during the last few years with a substantial segment of consumers having adopted this notion. Minimalism highlights subjective well-being, happiness, and increased quality of life. Despite minimalism gaining significance, we know little about minimalistic consumption, its various forms, its antecedents, and its impact on consumer behavior. Extant literature does not offer a clear or concise conceptualization of minimalism in consumption or the potential strategies to identify, target, and engage minimalistic consumers. This has been a major deterrent in advancing research on minimalistic consumption. This article provides a conceptualization of minimalism and offers a typology of consumers that engage in minimalistic consumption based on two dimensions: the conditional susceptibility and goal orientation of consumers. It presents a framework of brand engagement strategies for each type of consumer and shows how firms can potentially benefit in terms of sales, profitability, and customer relationships by engaging with minimalistic consumers.
Stoic Minimalism may be described as ‘just enough Stoicism.’ Just enough for what? Just enough to lead the good life. Just enough to cope with the stress of modern life. Just enough to not be rattled ...by the constant changes that characterize the times we live in. Just enough to be resilient in the face of misfortune. Just enough to have the freedom to reject unproven or unprovable concepts. In essence, Stoic Minimalism is an attempt to retain whatever is valuable in ancient Stoicism and the freedom to discard whatever is unproven, unhelpful, or incompatible with our everyday lives. For the Stoic Minimalist, Stoic ethics is a logically self-contained system in which rationality is the principle, wisdom is the means, and happiness is the end. The purpose of this paper is to expand on this theme.
