This PhD “Film by Practice” sets out to question and explore the nature of film poetry. The poetry of the cinematic image is described by the filmmaker Jean Epstein as the “unveiling of the magic inherent in the visual object beyond the capacity of words to define” (Epstein, cited in Sitney, 1978: xxiii). This is a daunting task that the study interprets through the moving image with particular reference to the magical temporal art of trance possession, which is processed within the genre of experimental ethnographic documentary and intercultural film. This thesis is an experiment in form, taking the filmmaker Maya Deren’s notion of film as comprising of “narrative horizontals” and “poetic verticals” (Deren and Sitney, 1971: 178) explored through a practical investigation of movement and time in space both beyond and within the film frame, studied through the art installations Divine Horsemen (2005) and People Inbetween (2007). It is focused through a reading of Gilles Deleuze’s Bergsonian philosophies of cinema as “movement-images” and “time-images” (Deleuze, 1989: xvi, xvii), exhibited as multi-screened video art installations that evolve within the space and hence exist in a perpetual state of “becoming”. Whether this is the sounds and images that change depending on where they are viewed, or the narrative theme of the works as “becoming other”. The themes of “in-betweenness” and the “mix” are investigated through these two video documentary artworks; first, by a third party restaging/remixing of the experimental ethnographic footage of Haitian Voodoo trance possession shot by Maya Deren, unfinished and posthumously released as Divine Horsemen the Voodoo Gods of Haiti (1985); and second, diaspora and the intercultural are explored through the first person personal. Intercultural documentary and experimental ethnography filtered through me with specific reference to my own triangular ethnicity, being British, Sri Lankan, though classified as Dutch Burgher, a “lost white tribe” (Orizio, 2000: 2): a journey into racial “becoming” as an “in-between” belonging to a diasporic community.

The aim of this thesis is to report on a transdisciplinary approach, regarding the complexity of thinking about human embodiment in relation to machine embodiment. A practical dimension of this thesis is to elicit some principles for the design and evaluation of virtual embodiment. The transdisciplinary approach suggests, firstly, that a single discipline or reality is, on its own, not sufficient to explain the complexity and dynamism of the embodied interaction between the human and machine. Secondly, the thesis argues for thinking of transdisciplinary research as a process of individuation, becoming or transduction, that is, as a process of mediation between heterogeneous approaches rather than perceiving research as a stabilized cognitive schema designed to accumulate new outcomes to the already-there reality. Arguing for going beyond the individualized approaches to embodiment, this thesis analyzes three cases where the problems that appear in one case are resolved through the analysis of the following one. Consisting of three phases, this research moves from objective scientific 'reality' to more phenomenological, subjective and complex realities. The first study employs a critical review of embodied conversational agents in human-computer interaction (HCI) in a learning context using a comparative meta-analysis. Meta-analysis was applied because most of the studies for evaluating embodiment are experimental. A learning context was selected because the number of studies is suitable for meta-analysis and the findings could be generalized to other contexts. The analysis reveals that there is no 'persona effect', that is, the expected positive effect of virtual embodiment on the participant's affective, perceptive and cognitive measures. On the contrary, it shows the reduction of virtual embodiment to image and a lack of consideration for the participant's embodiment and interaction, in addition to theoretical and methodological shortcomings. The second phase solves these problems by focusing on Mark Hansen's phenomenological account of embodiment in new media. The investigation shows that Hansen improves on the HCI account by focusing on the participant's dynamic interaction with new media. Nevertheless, his views of embodied perception and affection are underpinned by a subjective patriarchal account leading to object/subject and body/work polarizations. The final phase resolves this polarization by analyzing the controversial work of Alan Turing on intelligent machinery. The research provides a different reading of the Turing Machine based on Simondon's concept of individuation, repositioning its materiality from the abstract non-existent to the actual-virtual realm and investigating the reasons for its abstraction. It relates the emergence of multiple human-machine encounters in Turing's work to the complex counter-becoming of what it describes as 'the Turing Machine compound'.

Ayant réalisé neuf longs-métrages entre 1988 et 2007, aussi que plusieurs campagnes publicitaires, vidéo-clips, courts-métrages et projets collectifs, Wong Kar-wai est un des réalisateurs contemporains les plus importants actuellement. Issu de l'industrie cinématographique fortement commerciale de Hong Kong, Wong est parvenu à attirer l'attention du circuit international des festivals de cinéma avec son style visuel unique et son récit fragmenté. Considéré par plusieurs critiques comme le poète de la recherche d’identité de Hong Kong après 1997, Wong Kar-wai défie toutes les tentatives de catégorisation. L’étude qui se poursuivit ici a donc pour objet essentiel de fournir une analyse attentive et complète de son oeuvre, tout en se concentrant sur les traits stylistiques qui donnent à ses films une unité. Ces caractéristiques correspondent à une certaine façon de raconter des histoires, de composer des personnages et des récits, de manipuler le temps et d'utiliser des ressources techniques de sorte que ses films offrent une identité cohérente. L'objectif est d'analyser les différents composants de ses images pour découvrir comment ses films communiquent les uns avec les autres afin de créer une identité unique. Pour atteindre cet objectif, je pose comme hypothèse de travail que le cinéma de Wong est marqué par une structure dualiste qui permet à ses films de présenter des qualités contradictoires simultanément. La plupart de mes arguments se concentrent sur le travail du philosophe français Gilles Deleuze, qui a proposé une théorie du cinéma divisé entre l’image-mouvement et l’image-temps. Je considère que sa théorie fournit un cadre valide sur lequel les films de Wong peuvent être projetés. Tandis que ma recherche se concentre sur l’interprétation textuelle des films, je profiterais également d’une analyse comparative. / With nine feature films released between 1988 and 2007, as well as several advertising campaigns, music videos, short films and collective projects, Wong Kar-wai is one of the most important contemporary filmmakers currently working. Hailing from Hong Kong’s highly commercial film industry, Wong has managed to attract the attention of the international film festival circuit with his visual style and fragmented narrative. Considered by many critics as the poet of Hong Kong’s quest for identity post 1997, his cinema defies every attempt of standardization. The main goal of this study is to provide an attentive and comprehensive study of his body of work, concentrating on the stylistics traits that make his films part of a coherent unity. These characteristics correspond to a certain way of telling stories, of composing situations and characters, of manipulating time and the use of technical resources so that his films offer a coherent identity. The objective is to analyze the different components of his images, to show how his films communicate with each other in order to create something unique. To achieve this objective, I put forward the hypothesis that Wong’s cinema is marked by a dualistic structure that allows his films to present opposite qualities at the same time. Most of my arguments are based on the thoughts of French philosopher Gilles Deleuze, whose own dualistic theory of cinema presented in his books Cinema 1: the movement-image and Cinema 2: the time-image, provides a valid framework upon which Wong’s films can be projected. While the research concentrates on the textual analysis of films, I will also benefit from comparative analysis and additional disciplines.

La question posée dans ce mémoire de recherche concerne l’artiste contemporain japonais Aida Makoto, comme figure provocante et ironique, remettant en question les appareils de répression et d’aliénation de la société capitaliste japonaise. L’objectif de ma réflexion est de montrer l’apport de la schizo-analyse dans l’analyse d’œuvres plastiques comportant des prédispositions à l’utilisation de celle-ci. À travers les œuvres de l’artiste Aida Makoto où une multiplicité de corps emplit l’espace de la toile, et à partir des concepts de multiplicité et de sensation théorisés par Gilles Deleuze et Félix Guattari, la recherche apportera une seconde lecture aux œuvres de cet artiste en mettant en avant les aspects révolutionnaires de sa création artistique. Constitué de deux chapitres, le mémoire porte dans un premier temps sur la picturalité de l’œuvre, d’ordre technique, esthétique et éthique, en mettant en avant les composés de sensation présents sur la toile, ceci afin, dans un second temps, d’appréhender la figuration, de la visagéité à la multiplicité, comme aspect central de l’œuvre. Ainsi, la Figure, au sens deleuzien du terme, permettrait à l’artiste Aida Makoto d’entamer une fuite schizophrénique à l’occasion de laquelle il pourra créer à l’abri de toute répression ou normalisation de ses machines désirantes par la société capitaliste japonaise. / The question posed in the research concerns the contemporary Japanese artist Aida Makoto, as a provocative and ironic figure, challenging the machinery of repression and alienation of the Japanese capitalist society. The purpose of my reflection is to show the contribution of schizoanalysis in the analysis of visual artworks. Through the artworks of the artist Aida Makoto, where a multiplicity of bodies fill the space of the canvas, and from the concepts of multiplicity and sensation, theorized by Gilles Deleuze and Félix Guattari, this research will bring a second reading to Aida’s works highlighting the revolutionary aspects of his artistic creation. Constituted of two chapters, the thesis focuses mainly on the pictoriality of the work from technical, aesthetic and ethics points of view, emphasizing the compounds of sensation present on the canvas, in order to, secondly, understand the figuration of faciality to multiplicity as a central aspect of the work. Thus the Figure, in the deleuzian sense, would allow the artist Makoto Aida to start a schizophrenic escape during which he can create freely from repression and normalization of desiring machines in the Japanese capitalist society.

The thesis Otherness and Identity deals with the discourse of Gilles Deleuze (Différence et répétition, 1968) and Deleuze in cooperation with Félix Guattari (Capitalisme et schizophrénie: L'Anti-Oedipe, 1972, Mille plateaux, 1980, Qu'est-ce que la philosophie?, 1991). On the basis of their discourse the process of individuation is constructed, and is at first situated into deleuzean space-time. The process of individuation is based on the principle of inner difference that is understood as a generative principle which "makes the difference". In this sense, the concept of individuation represents a concept of otherness unlike the concept of identity. The first and the second part of the thesis present basic principles of thinking of Deleuze and Guattari. In the third part of the thesis the principle of identity is localized in the work of Deleuze and Guattari. This concept is understood as a consequence of illegitimate uses of the synthesis of unconsciousness. On this ground their critique of psychoanalytic reproduction of repressive Oedipal structures is presented. And the Oedipal structure in it's reproductive function is also presented as a construct of sexual identity. The fourth part of the thesis is devoted to confrontation of opinion motivations, views and strategies of Deleuze and Guattari...

This thesis establishes a phenomenology of desire in Anne Carson’s novel-in-verse Autobiography of Red. It examines how desire constructs the self in the text and how it positions it in relation to its surrounding world. The self’s status in the text is read through Gilles Deleuze and Felix Guattari’s understanding of desire and their concepts becoming and deterritorialisation as explicated in Anti-Oedipus and A Thousand Plateaus. These concepts are used to map the transformative power of desire in Autobiography of Red and provide an approach through which to understand the tenuous nature of self in the text. It reveals desire not as located solely in the relation between the text’s protagonist Geryon and Herakles, but as a movement that animates and constructs the text. It reads the “red” of the title, the presence of the volcano, of lava, as essential to the text, mapping how the force of desire positions the self and undoes the notion of a phenomenal “background”. Deleuzian desire has linguistic implications and the thesis further extends the use of becoming and deterritorialisation to understand Carson’s poetics and the text as the site that gives rise to a phenomenology of desire. The text is deterritorialised and Carson articulates a way of relaying experience beyond the representative mode. The thesis offers a reading of Autobiography of Red with a Deleuzian theory of desire, which is a new approach in Carson scholarship. As such it hopes to open up both the poetic text and theoretic text to new understandings and create points of departure for further research.

This thesis combines histories of the implementation of ABC Online (the website of the Australian Broadcasting Corporation, Australia's largest national Public Service Broadcaster) with the political philosophies of Foucault, and of Deleuze and Guattari. Following the Deleuzian argument that institutions of enclosure are in crisis because they exist in between diagrams of the disciplinary and control societies, the thesis tests each of the Foucauldian diagrams of discipline, governmentality and control against the ABC as Public Service Broadcaster. It explores issues such as which ABC strategies belong to which diagram, and the ways in which changes in communications technologies altered governing rationales of these diagrams at the ABC. The thesis uses the implementation of ABC Online to explore the idea of the ABC in the late 1990s as operating in between social diagrams. One way of examining this 'in between-ness' is to use the Public Service Broadcasting idea as an instance of arboreal thinking and the internet idea as rhizomic. The thesis employs that model to argue that Public Service Broadcasting as it is practised is not merely an arboreal assemblage, and that actual implementations of the internet are more than merely rhizomic assemblages. The thesis details some of the earliest relations between broadcasting and the internet at the ABC, and describes the relations between rhizomic and arboreal images of the ABC at particular sites and in various discourses. This examination concludes that both ways of imagining the ABC - the arboreal and the rhizomic - have been essential to the success of ABC Online. While the position of the ABC in between social diagrams caused a sense of crisis, ABC Online was in fact successful largely because of its position in between social diagrams. Not only was ABC Online remarkably successful in its first five years, but it was successful in ways which could not be accommodated in such documents as the ABC Charter. The public silences of ABC Online both allowed it to thrive, and conversely supported arboreal stratified ways of defending the ABC. Defences of the ABC that used arboreal thinking as a rhetorical strategy continued to dominate public discussion of the ABC, despite the successes of contrary examples in practice. One such example was the successful implementation of Radio Australia Online at a time when the Mansfield Review sought to limit the scope of the ABC to domestic free-to-air broadcasting. When some ABC Online practices were publicised in relation to the proposed Telstra deal, the resultant controversy concentrated on the non-commercial/commercial boundary at the ABC. The controversy also highlighted fears that the Online environment may alter the ethical relations between the ABC and its publics. In particular, the ethical goals of independence and integrity were perceived as being under threat in the World Wide Web environment. These goals were further problematised within the organisation by the demands of interactive subsites. These subsites demonstrated an altered ethical relation between the ABC and its user in the online environment of the control society.

《出航》(The Voyage Out 1915) 是維吉尼亞．吳爾芙 (Virginia Woolf) 的第一本小說。就像女主角從倫敦出發航向南美一個虛構的異地一樣，吳爾芙似乎也從此開始了她做為作家的旅行。女主角瑞秋．凡瑞斯 (Rachel Vinrace) 從一個懵懂的中產階級女兒，一腳踏入了未知的大海航程。在乘載著她橫跨大西洋的商船上，瑞秋體驗了與原本平靜生活截然不同的衝擊。當她走向聖塔瑪莉納 (Santa Marina)，她眼中儘是對這個熱帶異鄉的熱情與渴望。在那裡，瑞秋依著自己的步伐／速度與其他的角色相遇、相識、相知，開啟了自己對這個世界的視野。她與泰倫斯．希威特 (Terrence Hewet) 相戀、決定互許終生。然而，一場熱病讓瑞秋在返鄉之前過世。她的靈魂，似乎就此沒入深不見底的大海之中(Woolf 398)。 　　本論文以德勒茲 (Gilles Deleuze) 與葛塔力 (Felix Guattari) 的著作《千高臺：資本主義與精神分裂》(A Thousand Plateaus: Capitalism and Schizophrenia) 中所探討的旅行路線：固著路線 (rigid line)、可彎路線 (supple line)、逃逸路線 (line of flight) 來討論《出航》中角色之間的人際互動。從不同角色交疊橫越的旅行路線中，自我與他者的關係也不斷地在不同的情境之中形塑與消融。《出航》不再只是瑞秋個人的生命成長旅行經驗，更是眾多角色相互影響、體驗、與改變的廣大場域。小說裡表現了柏格森 (Henri Bergson) 所主張的種類差異 (differences in kind)，以及從中所發展出的個體性 (singularity) 價值與溝通的可能性。瑞秋的遊牧旅行軌跡，使她與泰倫斯之間擁有了超越性別差異的結合。在這種動態、開放的情境之下，瑞秋死亡之前的幻想與精神錯亂似乎象徵著逃逸路線所帶出的蛻變：在精神高度凝縮之下，全然的開放、專注於當下、無限接近真我。 不同的路線象徵不同旅行者的選擇以及路線背後的意義。本論文分成五章來探討《出航》裡交織複雜的旅行路線：第一章介紹《出航》的相關評論與背景，並且說明本論文所使用的理論架構；第二章以固著路線和可彎路線的討論為主，帶出絕對差異 (absolute difference) 的意義與價值；第三章探討真正溝通的可能性以及瑞秋從可彎路線出發的旅行軌跡；第四章從瑞秋的旅行起點到旅行終點，以逃逸路線的角度，找出詮釋她的死亡的另一種面向；第五章以瑞秋與泰倫斯之間的「愛」作結，帶出小說最終以死亡來表現生命的苦難與持續性。 / The Voyage Out (1915) is Virginia Woolf’s first novel. Like the heroine’s voyage from London to a fictional town in South America, Woolf has begun her travel as a writer since then. Rachel Vinrace, a daughter of a middle class merchant, plunges into the sea voyage out to the unknown world. In the cargo boat that takes her across the Atlantic, contrary to her original quiet life in Richmond, the interactions with the other crew make a profound impact on Rachel. Stepping onto the soil of Santa Marina, she is full of passion and has a thirst for this tropical foreign land. Here, Rachel encounters, and becomes acquainted and intimate with the other characters. She and Terrence Hewet fall for each other and decide to spend the rest of their lives together. However, a serious fever carries her off on the verge of her return trip. Rachel’s soul seems to “curl up at the bottom of the sea” (Woolf 398). The thesis intends to explore the interactions among the characters in The Voyage Out with the travel lines (rigid line, supple line, and lines of flight) discussed in Gilles Deleuze and Felix Guattari’s A Thousand Plateaus. From the intertwining travel lines of the characters, the relation between the self and the other is constantly constructing and blurring. The Voyage Out is not only the bildungsroman of Rachel but also a vast field for the characters to interact, experience, and become. The novel reveals the concept of differences in kind explored by Henri Bergson and the value of singularity and possibility of communication developed by Bergsonian ontology. Rachel’s nomadic travelling trajectory allows her to form a kind of union with Terrence that is beyond the limitation of gender difference. Under this dynamic and open circumstance, the deliriums and dreams before her death seem to suggest her becoming generated from the lines of flight: in the intensity of her spirit, she is open to the other, focuses on the present, and approaches to the primordial pure state. The thesis is divided into five chapters to investigate the complicated travel lines in The Voyage Out: Chapter I introduces the background of The Voyage Out and its literature reviews, and the theoretical approaches used in the thesis will also be illustrated; Chapter II concentrates on the discussion of the effect of the rigid line and the supple line in The Voyage Out and develops the meaning of absolute difference; Chapter III looks for the possibility of true communication and the orbit of Rachel’s voyage launched from the supple line; Chapter IV begins with Rachel’s point of departure and her point of arrival in order to form another dimension of her death, contrasted with traditional interpretation with the discussion of the lines of flight; Chapter V concludes with the love between Rachel and Terrence and reveals the suffering and continuity of life that the novel tries to display through death.

<p>The aim of this study is to construct as philosophical conceptualization of pedagogical attitude. Founded on Martin Buber’s philosophy of dialogue, the construction suggested in the study takes on a normative character, thus understanding pedagogical attitude as a matter of pedagogical creed. The author proposes a construction where existence is understood as a matter of Calling and Respons(e)ibility. Pedagogical attitude is thus understood in accordance with the notion of paying heed, responsibly responding and calling. As a consequence this conceptualization calls on the teacher to speak authentically, serve, embrace a loving leadership, provoke and dare to take risks.</p><p>Within the concept of Calling and Respons(e)ibility, “calling” means addressing a particular other, whilst respons(e)ibility is a term chosen to make the concept connote to the response as well as the responsibility taken in relation to a particular calling. The concept of Calling and Respons(e)ibility is understood as closely connected to the religious concept of vocation, although recycled in a secularized meaning, thereby put forth as a matter of realizing the fate of the teacher, the student as well as the field/subject. The concept of Calling and Respons(e)ibility is in the study connected to the notions of “mothering”, obedience and adjustment as well as to the notions of responsibility, fidelity and being enterprising.</p><p>Using a methodological approach of philosophical conceptualization suggested by Gilles Deleuze and Félix Guattari, the study sets out to reuse such old theological concepts as vocation, calling, paying heed and responding responsibly in new forms in a pedagogical context, thereby intending to discover, articulate and discern new aspects of that context. </p><p>By conceptualizing pedagogical attitude on the basis of an existential, normative and relational perspective, using the notion of calling and respons(e)ability, the study aspires to contribute to the ongoing conversation concerning teacher-student-relationship. </p>

This dissertation identifies and investigates the characteristics of the early 21st-century social, economic, and political situation as intrinsically connected and grouped under the concept of corporatism. Starting from Gilles Deleuze and Félix Guattari’s schizoanalysis of capitalism, this thesis argues that corporatism or corporate capitalism is immanent: an interconnected, networked, rhizomatic system that has been successful at overtaking biopower – life in all its forms, human and otherwise – and managing it, or even making it its business. Methodologically, this dissertation aims to move beyond negative into creative critique, whose role is the uncovering of imagined or real alternatives to the problems of corporatism. Consequently, this dissertation is divided into four chapters that attempt to bring this methodology to life. Chapter 1 presents the theoretical basis of corporatism, modeled on the theories of Gilles Deleuze and Félix Guattari. Chapter 2 begins to exemplify corporatism by investigating three corporate examples. This chapter sheds light on the real-life functioning of three corporations, Hudson’s Bay Company, Walmart, and Unilever, while also connecting them to the theoretical genealogy of human social systems described by Deleuze and Guattari. Chapter 3 turns to literature as both a diagnostician of the contemporary corporatism, as well as an imaginative solution-provider. While not instrumentalizing literature, this chapter rather looks to three novels for both descriptions of the corporatist social machine and prescriptions on how to attempt to change it. The novels featured in this chapter are aligned with the creative critique methodology: from the negative and even reactionary critique of William Gibson’s Pattern Recognition, through the problems with the contemporary episteme illustrated by Margaret Atwood’s dystopic Oryx and Crake, to the alternative outlined by Scarlett Thomas in PopCo. Chapter 4 investigates real-life experiments in order to assess their viability in altering the present conditions of life. To this end, the last chapter couples theoretical Deleuze-Guattarian alternatives with two locavore books: Animal, Vegetable, Miracle: A Year of Food Life by Barbara Kingsolver, with Steven L. Hopp and Camille Kingsolver, and The 100-Mile Diet by Alisa Smith and J.B. MacKinnon. / English