The project has engaged critically and reflectively in a series of investigations through Deleuzean theory and fine art practice. It has explored the functions of the diagram in relation to direct images of time, identifying novel perspectives on these aspects of Deleuzean theory through interconnections and a reciprocally transformative engagement with art practice. The research offers fresh insight into the complicated temporal shifts that become apparent through practice by layering visual and discursive elements. The work is concerned with the interrelation and transformation of different temporalities across surfaces and screens, and is situated in the intersections between text, film and drawing. <- Text functions in, about and as practice, and theory feeds and folds through processes of making. The interactions between analogue and digital, and the superposition and overlaying of the surfaces of drawings with projection are of particular importance. Digital film projections are traced and drawn, and the resulting layered surfaces are filmed again, repeatedly marked over and superimposed. The research addresses how these complex interrelationships might be understood as time images, and how different functions of the diagram can be seen to activate or make possible these direct perceptions of time. The diagram, in a Deleuzean sense, is characterised by a continual splitting that is simultaneously a divergence. Coming apart just as it runs together, the diagram is a marking out or working through that is provisional, temporal and engages with what is yet to be. The time image is identified as an instance in film where the virtual, or pure past and possibility, is perceived in the present. A stable, interwoven structure is developed through Bergson's theories of perception, recognition and memory, and this acts as a surface across, on and within which the main body of the text takes place. This is separated into three parts and each section proposes the interrelationship of a different diagrammatic function and a particular imaging of time. These are seen to arise through: slips, or loose, errant linkages; splits, or simultaneous bifurcations between

My area of research is the peplum, a cycle of mythological action films produced in Italy from 1957 to 1965, and its influence on both contemporaneous and subsequent filmic depictions of mythical heroes. I argue that this genre is a significant cinematic form which has been marginalised in the fields of film and cultural studies. My thesis reassesses the peplum in terms of its representations of heroic masculinity and the ways in which these relate to wider debates on masculinity. Critics such as Richard Whitehall (1963), Gianni Rondolino (1979) and Richard Dyer (1996, 1997) have noted that the cycle began with Le fatiche di Ercole (Hercules, Pietro Francisci, 1958), which established the peplum ground rules. Taking this film as my starting point, I trace the evolution of the genre through a series of case studies, including Romolo e Remo (Duel of the Titans, Sergio Corbucci, 1961), which offers contrasting forms of heroic masculinity, and counter representations of Herculean masculinity in Jason and the Argonauts (Don Chaffey, 1963), an American production made partly in response to the success of the peplum, and Ercole alla conquista di Atlantide (Hercules Conquers Atlantis, Vittorio Cottafavi, 1961). I also discuss later reconfigurations of the peplum hero in the American-financed Conan the Barbarian (John Milius, 1982) and 300 (Zack Snyder, 2007), which draw on the iconography and aesthetics of the peplum to markedly different effect. Previous peplum scholarship has characterised the genre as endorsing the value of white male physical strength in the context of a reactionary patriarchal status quo. I argue that the depiction of masculinity in these films is more varied, problematic and contradictory than this over-generalised reading would suggest. It is my contention that the peplum’s diverse representations of masculinity offer a notable contribution to ongoing debates on maleness as centred on and expressed by the body—within film studies, academia and the wider culture—that has been largely unexplored and unappreciated. My re-evaluation of the peplum also underlines the cultural value of Italian and indeed European genre cinema, fields still overshadowed in film studies by the dominant Hollywood models.

In 2013 the candidate published Operation Crossbow: The Untold Story of Photographic Intelligence and the Search for Hitler’s V Weapons. Through a detailed examination of the relevant primary sources – including aerial photography recently released to the National Collection of Aerial Photography in Edinburgh - this book investigates the role of British photographic interpretation in the hunt for German V-weapons during Operation Crossbow. In so doing, it provides a wealth of information on such matters as the wartime development of photographic interpretation, the techniques used by the interpreters, the personalities involved, the significance of photographic intelligence to the operation, and the wider politics of wartime intelligence. In particular, it contests some of the claims made by R. V. Jones in his memoir, Most Secret War (1978), about the role of photographic interpretation in the Crossbow investigation. It also demonstrates the wider importance of photographic intelligence in the British military history of the war and offers some explanation as to why this has become a ‘missing dimension’ of wartime intelligence studies. The critical review seeks to provide an academic superstructure for the book, which was intended for a general readership, and demonstrates that the research included therein is commensurate with that required for a PhD.

William Henry Fox Talbot (1800-1877), the inventor of photography on paper, was given crucial support by his colleague Sir John Herschel (1792- 1871). Fellows of The Royal Society, the two men made fundamental contributions to optics, chemistry, light, and mathematics. Both were humanists of diverse interests and had strong role models in women. For Talbot, it was his mother, Lady Elisabeth Feilding. Herschel learned some of his earliest science from his Aunt, Caroline Herschel; his wife, Margaret, was an active participant in his work. During the pre-history of photography, Mrs. Fulhame, Thomas Wedgwood, Sir Humphry Davy, and Nicephore Niepce demonstrated its potential. The question is why, rather than how, was photography invented and announced in 1839? The camera and the chemistry necessary for the art's invention co-existed for many decades. Frustrated in trying to sketch with Wollaston's camera lucida, Talbot conceived of photography; Herschel avoided making photographs because he was an expert draughtsman adept with the camera lucida. Herschel, following inductive reasoning, made seminal contributions to the field of photochemistry; he invented the cyanotype process and was the first to apply hypo to fix photographs. Talbot learned from his own photographs and grew into being the first photographic artist. Talbot and his rival, Louis Daguerre, mirrored the competitive economic race and differences in support of science and art between France and Great Britain. By the Great Exhibition in 1851, Herschel and Talbot had been forcefully removed from work in photography. Herschel's health was broken in service as Master of the Mint. He remained an important influence on other photographers, including Anna Atkins, Charles Piazzi Smyth, and Julia Margaret Cameron. Talbot learned from experience in photographic book publishing that silver photographs could never be made permanent. He applied his efforts to perfecting photoglyphic engraving, a forerunner of photogravure; he also invented the photographic halftone.

This dissertation takes as its point of departure, the claim that difference, not identity, is the primary quality of language. This difference is initially argued to be an 'uncommon sense'; one which does not emerge from a ground, origin, or operate within a dialectic of essence/appearance, but which consists of an economy of acoustic surfaces/timings/spatialities: diffuse, interpenetrative, and unclassifiable: a 'sensual' logic, not a logic based on identity, or metaphysics. Traditional philosophies of language tend to flatten out and simplify the space/time /material relations of language, in favour of a stable, timeless, fixed identity, which makes logical thought possible, through fixed, linear, disciplinary forms. They claim that language is able to unambiguously locate concepts, concretely, in time and space, unproblematically supporting thought. In contrast, it is the original contribution of the thesis to extend and complicate categories of logic, to include doubt, paradox, infinity and 'unstable' forms of understanding, as evidence of difference as the primary quality of language: a "mimetologic" as Lacoue-Labarthe has termed it, or what Adorno calls an anti-system, or Negative Dialectic. The 'difference' which paradox, in its ability to be this/not this, embodies, shows us the limits of representational thinking; as it strains against that limit, while simultaneously (and paradoxically), retrieving the intensity of thought. Part I draws on the key historical debates within philosophy, as they concern language, logic, and an account of sense. Part II shows that in the search for what Wittgenstein has called "the subliming of our account of logic", wherein signs equal facts in a relatively simple, way, aporias are inevitable, becoming viral in any system, such logical paradoxes and antinomies undermining any stable, determinable, ground for language. In Part III an 'acoustic' logic is posed as an alternative to logics based on visual paradigms, which cannot capture the dynamics of paradox and art, or account for their non-identical 'surfaces'. Part IV points towards art, literature, and performance in which the mimetological surfaces of language form [Un]disciplined gestures, constituting a praxis of [Un]common sense, whose logic is acoustic. Finally, communication itself is seen to be comprised of acoustic, paradoxical, mimetological surface(s), and an acoustic logic is offered as an a-representational, sensual form of understanding.

The theme of this work is memory and memory's retained memories associated with emotions. Memories which can be stored and recalled are often times associated with certain objects. On this issue, opinions by psychologist and sociologist Bohuslav Beetle and aesthetics and philosopher Dušan Sindelar are selected. The concept created on the basis of the theoretical part of the thesis brought in solutions in several different fingerprint files, which symbolize transience and fragility of memories in our lives.

This thesis constitutes five sets of photographic work of self-portraits in diptych form within an installation, with two Artists’ Books and a written component. It explores and visualises my autobiographical condition as an exiled artist from Taiwan, seeking for an imagined return.

Esta dissertação tem por objetivo analisar a produção de vistas da cidade de Porto Alegre, realizadas pelos Irmãos Ferrari e por Virgílio Calegari, dentro do contexto da história da representação da paisagem. Para tanto, a pesquisa desenvolveu-se em torno de dois álbuns produzidos pelos fotógrafos mencionados. Os primeiros produziram um álbum colecionável a partir de fascículos, e a cada mês o assinante recebia uma fotografia da cidade. Já o segundo foi editor de um livro, intitulado Porto Alegre, composto por uma série de fotografias dos principais pontos da cidade e arredores. Estes profissionais são responsáveis por um levantamento iconográfico da cidade de Porto Alegre, estabelecendo uma cultura visual relacionada com a arte. Organizadas em álbuns ou livros, estas imagens engendram sentido à cidade. Esta dissertação partiu da hipótese de que existiam padrões visuais específicos para determinados tipos de imagens. A partir disso, foi feito um percurso a fim de perceber as características formais das paisagens urbanas, não apenas na fotografia, mas também na pintura, com o objetivo de estabelecer possíveis influências na composição das fotografias do corpus documental. / This thesis has the objective of analyzing the production of views of the city of Porto Alegre by the Ferrari brothers and by Virgílio Calegari, from within the context of the history of landscape representation. In order to do so, the research revolved around two albums produced by the mentioned photographers. The first ones have produced a collectable album using booklets; the subscriber would receive, monthly, a picture of the city. The second was the editor of a book called Porto Alegre, this book was compound by a series of pictures of the main spots of the city and its environ. These professionals are responsible for an iconographic survey of the city of Porto Alegre which established a visual culture related to art. Put together in albums or books, these images give the city sense. This thesis accepted the hypothesis that there are specific visual patterns in specific kinds of images. Starting with that, a specific path was taken towards the end of perceiving the formal characteristics of urban landscapes, not only in photography, but also in painting; this was done with the objective of establishing possible influences on the composition of the pictures from the documental corpus.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-08T17:09:09Z No. of bitstreams: 2 Euriclésio 2.pdf: 4178784 bytes, checksum: 7338b5403e0b3f2e2c1be57df15066f9 (MD5) Euriclésio 1.pdf: 221494 bytes, checksum: e04aff29fe272c33a3733caff28a06e3 (MD5) / Approved for entry into archive by Lêda Costa(lmrcosta@ufba.br) on 2013-04-18T12:33:11Z (GMT) No. of bitstreams: 2 Euriclésio 2.pdf: 4178784 bytes, checksum: 7338b5403e0b3f2e2c1be57df15066f9 (MD5) Euriclésio 1.pdf: 221494 bytes, checksum: e04aff29fe272c33a3733caff28a06e3 (MD5) / Made available in DSpace on 2013-04-18T12:33:11Z (GMT). No. of bitstreams: 2 Euriclésio 2.pdf: 4178784 bytes, checksum: 7338b5403e0b3f2e2c1be57df15066f9 (MD5) Euriclésio 1.pdf: 221494 bytes, checksum: e04aff29fe272c33a3733caff28a06e3 (MD5) Previous issue date: 2006-07-30 / Este estudo analisa a tradução poética do mito Exu fotografias do livro Laróyè de Mario Cravo Neto. Exu, enquanto o mais humano dos orixás do candomblé, que participa da dialética do sagrado e profano na construção de uma cultura baiana. Dessa forma investiga os aspectos formais da luz e sombra, cores, movimento de algumas imagens fotográficas, no sentido de aproximá-las de algumas aspectos do Exu como orixá mensageiro, isto é aquele que transmite as mensagens entre os orixás e as pessoas. É o orixá do movimento dos corpos e que tem aspectos ligados à sensualidade e fecundidade, é dele que dependem desenvolvimento e o transporte de todas as coisas do universo. Para tanto, utiliza-se uma metodologia de análise com base na semiótica e na teoria da imagem fotográfica, para o desvendar estudo da obra de Cravo Neto. / Salvador

Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-23T12:53:01Z No. of bitstreams: 6 Dissertacao Valter Oliveira6.pdf: 3372175 bytes, checksum: 30851331f1081d697b21ac70fd826ecb (MD5) Dissertacao Valter Oliveira5.pdf: 7036192 bytes, checksum: 57f7b52bcf80a45f0d77023dfaf42ee4 (MD5) Dissertacao Valter Oliveira4.pdf: 6492411 bytes, checksum: 4fda68359bf6f7fdd6d2c3447b6363f9 (MD5) Dissertacao Valter Oliveira3.pdf: 5864053 bytes, checksum: ac4b6454d782ce8e7d1a4084eb76bac0 (MD5) Dissertacao Valter Oliveira2.pdf: 6998037 bytes, checksum: 5f6905faa48fb87c5f56240f89dd5c09 (MD5) Dissertacao Valter Oliveira1.pdf: 3522899 bytes, checksum: f8731bfc6ce1ef94236d342c66216fe1 (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-05-29T14:53:26Z (GMT) No. of bitstreams: 6 Dissertacao Valter Oliveira6.pdf: 3372175 bytes, checksum: 30851331f1081d697b21ac70fd826ecb (MD5) Dissertacao Valter Oliveira5.pdf: 7036192 bytes, checksum: 57f7b52bcf80a45f0d77023dfaf42ee4 (MD5) Dissertacao Valter Oliveira4.pdf: 6492411 bytes, checksum: 4fda68359bf6f7fdd6d2c3447b6363f9 (MD5) Dissertacao Valter Oliveira3.pdf: 5864053 bytes, checksum: ac4b6454d782ce8e7d1a4084eb76bac0 (MD5) Dissertacao Valter Oliveira2.pdf: 6998037 bytes, checksum: 5f6905faa48fb87c5f56240f89dd5c09 (MD5) Dissertacao Valter Oliveira1.pdf: 3522899 bytes, checksum: f8731bfc6ce1ef94236d342c66216fe1 (MD5) / Made available in DSpace on 2013-05-29T14:53:26Z (GMT). No. of bitstreams: 6 Dissertacao Valter Oliveira6.pdf: 3372175 bytes, checksum: 30851331f1081d697b21ac70fd826ecb (MD5) Dissertacao Valter Oliveira5.pdf: 7036192 bytes, checksum: 57f7b52bcf80a45f0d77023dfaf42ee4 (MD5) Dissertacao Valter Oliveira4.pdf: 6492411 bytes, checksum: 4fda68359bf6f7fdd6d2c3447b6363f9 (MD5) Dissertacao Valter Oliveira3.pdf: 5864053 bytes, checksum: ac4b6454d782ce8e7d1a4084eb76bac0 (MD5) Dissertacao Valter Oliveira2.pdf: 6998037 bytes, checksum: 5f6905faa48fb87c5f56240f89dd5c09 (MD5) Dissertacao Valter Oliveira1.pdf: 3522899 bytes, checksum: f8731bfc6ce1ef94236d342c66216fe1 (MD5) Previous issue date: 2007 / A presente dissertação possui como tema a obra fotográfica produzida por Osmar Micucci entre os anos de 1955 a 1963 sobre a cidade de Jacobina. Nela o fotógrafo é visto como um espectador privilegiado no momento em que a cidade passou por um conjunto de transformações na sua paisagem urbana e nas práticas culturais de sua população, entendidas na época como sintomas da modernidade. Trabalhando como fotógrafo, Micucci produziu um conjunto de imagens urbanas, apontando através delas seu olhar atento para diversos aspectos que revelam, tanto panoramicamente quanto pontualmente, o acompanhamento das transformações na cidade. O estudo teve como objetivo analisar esse olhar fotográfico e sua importância dentro daquele contexto em Jacobina. Nesta pesquisa a fotografia foi tratada como documento histórico de primeira grandeza, estabelecendo diálogos com outras fontes, como a imprensa, a oralidade e escritos da época. A fotografia é analisada tanto como um artefato técnico quanto artístico e situada naquela realidade histórica específica. O olhar urbano de Micucci é visto dentro do contexto interno e externo da história da fotografia, de maneira que sua obra é pensada na relação entre a cultura fotográfica local, nacional e mundial. Por outro lado, as fotografias de Micucci também são tratadas como patrimônio cultural da cidade, dado o valor histórico que elas cumpriram na construção daquela memória social. / Salvador