Presently, Information Design is on an upward trajectory, as it is being implemented on various platforms, from professional presentations to social media posts. The need for strong, understandable visual content has driven individuals with varying backgrounds to adopt the methods from the field. However, whether novice or trained professional designers, a vast number appear to pillage the random works they come across and apply the visuals without considering the historic lessons that arewithin each visualization. When designers discuss the history of Information Design, many cannot agree on much. Of the books that are in circulation, a majority highlight specific people, places, designs, and/or time periods. A few identify common themes but fall short ofemphasizing threads that connect people and methods. In actuality, the history of Information Design is severely limited. Designers fail to notice the benefits of understanding the complexity of problems encountered by practitioners in the 18th and 19th centuries. Many in the field deny themselves the opportunity to recognize the inventiveness, successes, and failures of the predecessors. Lost are the lessons, skills, and insight taught by the progenitors. This research aims to highlight connections from the past to rediscover their value in the present, while also calling attention to contributors who were previously overlooked or undervalued. Through the exploration of methods and themes, as well asa look at responses collected from modern designers, a reconstruction of historic developments will allow the discipline to untangle its complex past in order to set goals for the future.

The desire to orient human civilization within the universe is evident in the most ancient structures of the world, including Stonehenge, the Pyramids of Giza and the Pantheon. The baroque architect, priest and polymath, Guarino Guarini (1624–1683), designed seventeen architectural works and wrote ten treatises on a multitude of subjects, including architecture, mathematics and astronomy. Guarini presents three principles in his treatise on architecture, which connects the art of building (edificare) to the sun (orologia, gnomonica) and to solar mechanics (macchinaria). The Church of San Lorenzo in Turin (1668–1687) is an elegant example of these principles created as built form, with a dome resembling the celestial sphere, aligning the church to God and to the cosmos. The vertical alignment of the dome represents the celestial pole, a cosmological center point that is also known as the axis mundi. The interlocked system of stone arcs that comprise the structure of the dome, represents the rings of an ancient model of the celestial sphere known as an armillary that dates as far back as Eratosthenes (276–194 BC). The following dissertation creates an unprecedented connection between Guarini’s knowledge as an architect, mathematician, astronomer and philosopher, to the Church of San Lorenzo. While a previous theory on Guarini by Marcello Fagiolo briefly established the possibility of a system unifying Guarini’s architecture and academic knowledge, I greatly expand this possibility and argue that Guarini is a heliocentric astronomer, not a geocentrist. San Lorenzo was built at the end of the Baroque period and at the beginning of the Enlightenment, representing the bridge between the classical past and the dawn of the age of modern science. By demonstrating that Guarini believed in a sun-centered solar system, I will argue that for Guarini, the light of the sun was architecturally, theologically and cosmologically of the utmost importance.

This dissertation explores how practices and interactions of actors at different scales structure social networks and lead to the emergence of social complexity in middle range societies. To investigate this process, I apply a complex adaptive systems approach and a methodology that combines network science with analytical tools from economics to the three sub-periods of the Prehistoric Bronze Age (The Philia Phase, PreBA 1 and PreBA 2) on Cyprus, a transformational period marked by social and economic changes evident in the material record. Using proxy data representative of three kinds of social interactions or facets of social complexity, the control of labor, participation in trade networks, and access to resources, at three scales, the community, region and whole island, my analysis demonstrates the variability in and non-linear trajectory for the emergence of social complexity in middle range society. The results of this research indicate that complexity emerges at different scales, and times in different places, and only in some facets of complexity. Cycles of emergence are apparent within the sub-periods of the PreBA, but a linear trajectory of increasing social complexity is not evident through the period. Further, this research challenges the long-held notion that Cyprus' involvement in the international metal trade lead to the emergence of complexity. Instead, I argue based on the results presented here, that the emergence of complexity is heavily influenced by endogenous processes, particularly the social interactions that limited participation in an on-island exchange system that flourished on the island during the Philia Phase, disintegrated along the North Coast during the PreBA 1 and was rebuilt across the island by the end of the period. Thus, the variation seen in the emergence of social complexity on Cyprus during the PreBA occurred as the result of a bottom-up process in which the complex and unequal interactions and relationships between social actors structured and restructured social networks across scales differently over time and space. These results speak more broadly about the variability of middle range societies and the varying conditions under which social complexity can emerge and add to our understanding of this phenomenon.

This thesis assesses the existence of an advanced textile production industry, which existed in Minoan and Mycenaean societies throughout the Bronze Age. This is proved based on physical remains as well as literary and tablet sources. These pieces of evidence show the movement and use of raw weaving materials as recorded and controlled by central palace structures. Palaces would have acted at the collectors of the raw goods and would have contained the workshops needed to produce the final product. The motives behind this industry are disputed, however the could include needing textiles for warfare, religious rituals, to supply the local population, or to enable the lifestyles of the elite.

The Rape of Polyxena is a marble statue located in the Loggia dei Lanzi in Florence, Italy's Piazza della Signoria. It was sculpted by Pio Fedi in 1868, but it was placed alongside several sculptures from the Renaissance, an immense compliment to his work. The Rape of Polyxena embodies Hellenistic, Renaissance, Baroque and Neoclassicist mannerisms regarding its style and theme. Fedi intricately blended multiple styles and stories in order to construct The Rape of Polyxena. The most prominent literary sources of the Greek legend concerning Polyxena are Ovid's Metamorphoses, Euripides' Hecuba, and Bocaccio's Famous Women. This project discusses the various sources of the scene presented and the different sculptures that may have inspired Fedi to create his work. This thesis explores the reason behind the sculpture's placement in the prestigious Loggia dei Lanzi and concludes that Fedi does not adhere to any singular source of the myth, but takes elements from different sources in order to create a new story.

Armed conflict has often served as a catalyst for the looting of cultural heritage. The lootings of Iraqi antiquities during the Persian Gulf War and Operation Iraqi Freedom serve as examples of this horrific consequence. From 1990 to 2014 there have been four major cases of looting in Iraq: the Iraqi regional museums in 1991, archaeological sites throughout the 1990's, the National Museum of Iraq in April 2003, and Iraqi archaeological sites starting in 2003. During this time period, The New York Times reported 84 articles about the status of Iraqi antiquities. Interestingly, the newspaper focused 62 of the articles on the looting of the National Museum of Iraq and subsequent recovery efforts. In this thesis, I will evaluate factors such as subject, article length, word choice, author, paper section, date, accuracy of information, and other relevant influences to determine differences in coverage between the different instances of Iraqi cultural heritage looting. The factors will demonstrate that the marketable qualities of the story, availability of information, and danger of location are some of the factors that led to the disproportional reporting by The New York Times.

This study frames research on board games within a body of anthropological theory and method to examine the long-term social changes that effect play and mechanisms through which play may influence societal change. Drawing from ethnographic literature focusing on the performative nature of games and their effectiveness at providing a method for strengthening social bonds through grounding, I examine changes in the places in which people engaged in play over the course of the Bronze Age on Cyprus (circa 2500¬–1050 BCE), a period of increasing social complexity. The purpose of this research is to examine how the changes in social boundaries concomitant with emergent complexity were counteracted or strengthened through the use of games as tools of interaction.

Bronze Age sites on Cyprus have produced the largest dataset of game boards belonging to any ancient culture. Weight and morphological data were gathered from these artifacts to determine the likelihood of their portability and to identify what type of game was present. The presence of fixed and likely immobile games, as well as the presence of clusters of portable games, was used to identify spaces in which games were played. Counts of other types of artifacts found in the same spaces as games were tabulated, and Correspondence Analysis (CA) was performed in order to determine differences in the types of activities present in the same spaces as play.

The results of the CA showed that during the Prehistoric Bronze Age, which has fewer indicators of social complexity, gaming spaces were associated with artifacts related to consumption or specialty, heirloom and imported ceramics, and rarely played in public spaces. During the Protohistoric Bronze Age, when Cyprus was more socially complex, games were more commonly played in public spaces and associated with

artifacts related to consumption. These changes suggest a changing emphasis through time, where the initiation and strengthening of social bonds through the grounding process afforded by play is more highly valued in small-scale society, whereas the social mobility that is enabled by performance during play is exploited more commonly during periods of complexity.

During the politically charged period between the 1950s and 1970s in the United States, Nancy Newhall emerged as an important advocate for open space. She began traveling to the West which encouraged her dedication to land preservation and invigorated her enthusiasm for photography. Newhall was already a respected curator and author addressing the communicative roles of photographs. After spearheading groundbreaking museum retrospectives of contemporary photographers she expanded her artistic vison to include conservation activism. The notable photographers, scholars, writers, and politicians with whom she collaborated often overshadowed her contributions, and they have been under celebrated until recently. My project studies her efforts on a quintessential Sierra Club publication from 1960. While considering her book titled This Is The American Earth I was led to insightful explorations of her unique approach to contextualizing photographs. My investigations revealed the impact that the work of Nancy Newhall had on land preservation, alongside her prolonged influence on the acceptance of photography as fine art and a resilient device of communication. In This Is The American Earth her calculated, inspired approach, attaching text to photos conveyed stirring messages to readers and forwarded an innovative use of a genre that the Sierra Club willingly embraced. Working with its president and Ansel Adams, she edited, wrote, and published several popular illustrated volumes which brought an interpretation of open space into American living rooms. Her efforts produced iconic picture books that remain memorable examples of the mid-20th century conservation movement.

Ancient Mediterranean cultures incorporated equine iconography into their artistic repertoires, demonstrating the horse's importance not only as a beast of burden and war, but also as a visual symbol of wealth and prestige. Interaction between man and horse appears in clay as early as the third millennium BC, along with the early development of ancient Near Eastern cultures. Tactical evolution in Near Eastern warfare, particularly the eclipse of chariot forces by the rise of cavalry, coincided with the emergence of equestrian terracotta figurines and facilitated the popularity of horse and rider imagery. Cyprus' many city-kingdoms have yielded a vast, coroplastic corpus in both votive and mortuary contexts, including figurines of equestrian type. These terracottas are an important contribution to the understanding of ancient Cypriote cultures, cities and their coroplastic oeuvre.

While many studies of excavated terracottas include horse and rider figurines, only a limited number of these publications dedicate adequate analysis and interpretation. Ancient Marion is one of the Cypriote city-kingdoms producing a number of equestrian terracottas that are in need of further examination. By focusing on the unpublished horse and rider figurines from Marion, this paper will add to the conversation of Cyprus' inclusion of equestrian iconography in coroplastic production. Through thorough analysis of the horse and rider terracottas, specifically their plastic and stylistic components, this thesis establishes typologies, makes visual comparisons and demonstrates Marion's awareness of an equine vogue both in contemporary Cyprus and abroad. The horse and rider figurines of Marion are an important contribution to the better understanding of the city-kingdom and exemplify the inclusion of equestrian imagery within the context of ancient societies.

This thesis discusses the significance of the casta naming process depicted in pinturas de casta or casta paintings created in eighteenth-century colonial New Spain. These paintings depicted family units, each member named by a racial label designated by the sistema de castas, the Imperial Spanish code of law associated with these paintings. In the genre, the labeled subjects were hierarchically ordered by racial lineage with pure Spanish genealogies ranked highest and all other racial categories following on a sliding scale of racial subjectivity. This study focuses on casta paintings' label coyote, which referred to colonial subjects of mestizo and indigenous heritage. Policies of the casta system, when matched with casta paintings' animal label created a framing of indigenous colonial subjectivity; those labeled coyote were visually positioned as one of the lowest members of the casta and of questionable quality as humans, given their comparison to wild canines. Beyond the general discussion of racial hegemony at work in these paintings this thesis exploration individually questions the meaning of the casta label coyote by analyzing how the colonial namer and the named colonial subject related to this word and title. Deep-seated beliefs about the undomesticated canine were at work in the imaginations of both the Imperial Spanish namer and the named colonial subject, evidenced in European/Spanish renderings of wolves and indigenous art depicting coyotes in Mesoamerica. To uncover the imaginations that informed the creation and reception of the coyote label this study examines the visual development of wolf as a symbol of wildness, evil, and racial impurity used to hail the human Other in both peninsular and New Spanish colonial arts. Additionally, images of coyotes will be considered from the position of the colonial named, vis à vis indigenous arts and beliefs that coyote acted as a sacred symbol of power through centuries of human development in the Mesoamerican world. Varied understandings of coyote were at work in the New Spanish colony, evidenced in eighteenth-century paintings of mestizo artist Miguel Cabrera. Analysis of his paintings of the La Divina Pastora and of his casta painting De mestizo y india nace coyote reveal the instability of coyote as symbol and human label amid the mestizaje mechanisms of New Spain.