This thesis explores recent Turkish-German film through a radically postrepresentationalvision of aesthetics and ethics. Post-representationalism as amethodology involves confronting conventional cognitive and hermeneuticapproaches to film, and going beyond representational schemes and nationalparadigms for a closer engagement with the aesthetic. This thesis puts emphasison tropes such as movement, gesture, process and becoming through anengagement with the writings of Gilles Deleuze and Félix Guattari as analternative to the theoretical models that dominate the scholarship on migrant anddiasporic cinemas which place emphasis on dualisms and notions such as culturaland national identity. It attempts to broaden the discussions on post-ReunificationTurkish German cinema by exploring a wide range of works including fiction,documentary and artist films dealing with labour migration from Turkey toGermany. The first chapter focuses on Thomas Arslan’s Berlin Trilogy andChristian Petzold’s Jerichow (2009) as ‘Berlin School’ films that convey adistinct aesthetic approach to labour migrants and their second generationoffspring in Germany, which tends to focus on questions of work and thechanging nature of labour under globalisation. The second chapter looks atdocumentary films by Thomas Arslan, Aysun Bademsoy, Harun Farocki andSeyhan Derin to re-evaluate the dominance of historical narratives and reassessthe documentary form as an archival and creative practice through new politicaland ethico-aesthetic paradigms. The third chapter investigates social realist genrecinema through Feo Aladağ’s Die Fremde (2011) and Yüksel Yavuz’s KleineFreiheit (2003) to explore whether new encounters with conventional aestheticsthat zoom in on gestures and movements can call into question the limitation oflinguistic and semiotic terms and categories of analysis. These chapters aim tomove beyond representational and definitive frameworks in favour of a creativecritical engagement with migrant film as a political vocation, which carries withinitself the potential to invent new forms of thought, resistance, movement andpeople.

La presente disertación analiza cómo el pliegue, forma operatoria de la función barroca, se manifiesta en diversas manifestaciones de la narrativa latinoamericana comprendida entre el siglo XX y el XXI. Las obras escogidas incluyen cuentos, novelas y filmes. El pliegue como rasgo fundamental de las narrativas analizadas al interior del presente trabajo, es el resultado de una apropiación metafísica del universo que ve el mundo como una continuidad que se pliega y despliega de acuerdo con las fuerzas monádicas a los extremos de la alegoría. Esta función barroca se manifiesta a través del narrador quien se ubica en el punto de inflexión de la narración; de esta manera permite abarcar instancias, que incluyen lo físico y lo metafísico, que estructuran las obras. De esta manera, la narración deviene en multiplicidad y el lector u observador es testigo de la continuidad del universo representado, su dinamismo y fluidez. El primer capítulo de esta disertación hace un seguimiento al término barroco y neobarroco en Latinoamérica a partir de José Lezama Lima, Severo Sarduy y Alejo Carpentier. Además, se discute sobre la dicotomía Psomodernidad-neobarroco a partir de Omar Calabrese. La parte final del capítulo se enfoca en la explicación del pliegue como manifestación de la función barroca. Para ello se utilizan los conceptos del filósofo francés Guilles Deleuze quien reelabora el concepto de pliegue a partir de la monadología de Leibniz. El segundo capítulo aplica lo discutido a cuatro cuentos del Argentino Jorge Luis Borges. Estos son: "El Aleph", "El inmortal", "Las ruinas circulares" y "El jardín de senderos que se bifurcan" de los libros El Aleph y Ficciones, respectivamente. El tercer capítulo se centra en la Nueva Novela Histórica Latinoamericana. Se estudian los conceptos de Seymour Menton, María Cristina Pons y Noé Jitrik. Además, se analizan las novelas Maluco,la novela de los descrbridores de Napoleón Baccino Ponce de León, Noticias del imperio de Fernando del Paso y el Naranjo de Carlos Fuentes. El cuarto capítulo estudia las películas Quanto vale ou é por quilo? de Sergio Bianchi, Cenizas del paraíso de Marcelo Pyñeiro y La vendedora de rosas de Víctor Gaviria.

The politics of the act is an important part of radical politics as it seeks to disrupt and challenge the status quo. I define the politics of the act as a mode of politics that involves a withdrawal from the state, mobilises around non-hierarchical organising structures and is animated by an imperative of enactment. This can be contrasted with a politics of demand, which is state-oriented, hierarchical in nature and looks to educate the movement for enactment. While Marxists have tended to privilege the politics of demand as the route to radical change, anarchists have favoured the politics of the act, thus creating a clear opposition between these two different ways of acting politically. In this thesis I will argue that this dichotomy between a politics of demand and a politics of the act is overemphasized, and using Deleuze I will show that a politics of the act is the ontological and creative basis through which the politics of demand comes into being, and the politics of demand is enacted by capturing certain flows of creativity into recognisable ‘moments’ that allows them to be made visible and understood at a societal level. Thus, these modes of politics, although they have meaningful differences, are not distinct from each other but rather flow into each other. In IR, conceptualisations of social movements practising a politics of demand have overshadowed the politics of the act, although anarchists have recognised its importance. This thesis will build on this work by drawing on Deleuzian concepts to deepen our understanding of the politics of the act both conceptually and empirically and contributing to the development of a postanarchist politics. It will examine six case studies of activities that are valorised as exemplifying the politics of the act: withdrawal from the state by Food Not Bombs and Social Centres; horizontal organising structures of Critical Mass and Indy Media Centres; and an imperative of enactment through guerrilla gardening and the Clown Army. This thesis challenges those conceptualisations of politics that privilege either the politics of demand or the politics of the act, and demonstrates that both are needed in any conceptualisation of radical politics. It concludes by offering a way of conceptualising both modes of politics through a ‘politics of the molecular’.

In this dissertation I explore a number of contemporary science fiction franchises in order to ascertain how the figure of the action heroine has evolved throughout her recent history. There has been a tendency in film criticism to view these strong women as ‘figuratively male’ and therefore not ‘really’ women, which, I argue, is largely due to a reliance on the psychoanalytic paradigms that have dominated feminist film theory since its beginnings. Building on Elisabeth Hills’s work on the character of Ellen Ripley of the Alien series, I explore how notions of ‘becoming’ and the ‘Body without Organs’ proposed by Gilles Deleuze and Félix Guattari can be activated to provide a more positive set of readings of active women on screen. These readings are not limited by discussions of sex or gender, but discuss the body in terms of its increased capacities as it interacts with the world around it. I do not argue for a Deleuzian analysis of cinema as such, because this project is concerned with aspects of representation which did not form part of Deleuze’s philosophy of cinema. Rather I use Deleuze and Guattari’s work to explore alternative ways of reading the active women these franchises present and the benefits they afford. Through these explorations I demonstrate, however, that applying the Deleuzoguattarian ‘method’ is a potentially risky undertaking for feminist theory. Deconstructing notions of ‘being’ and ‘identity’ through the project of becoming may have benefits in terms of addressing ‘woman’ beyond binaristic thought, but it may also have negative consequences. What may be liberating for feminist film theory may be also be destructive. This is because through becoming we destabilise a position from which to address potentially ideologically unsound treatments of women on screen.

This PhD explores Bergsonian notions of duration and the unrepresentable characteristics of creative emotion. Contemplating emotion through Bergson’s duration assists an understanding of the measure of emotion’s quantitative multiplicity, the complexity of its qualitative multiplicity and its creative potential. The application of these ideas to the Deleuzian cinematic concepts of the movement-image and time-image, allows the exploration of digital and analogue cinematic techniques alongside the characteristics of representable and unrepresentable emotion. The analysis of emotion traverses various historical and contemporary subjects that include areas such as philosophy, science, art and digital sound and moving-image technology. Three video pieces created for this thesis illustrate and elucidate the theoretical argument. The first work deals with movement, duration and change, the second with coexistent time, memory and perception and the third with intuition the élan vital and creative emotion. Each film is intended to allow the viewer/listener to enter their own creative emotion. Thus the research revaluates and elevates the further potentials of emotion, beyond its mere representation in order to discover how its very nature, suggests new approaches to the creation of art work that is itself, able to reveal the nature and process of creative emotion.

Poetic truths exist within unknowable interspaces beyond human perception. Through the reciprocal engagement of phenomenological inquiry and thorough material explorations, I aim to access these spaces as sites of greater understanding. Magnifying the fissures between the material and sensual qualities in material constructs, my practice activates specific instruments within mutable, relational systems of installation, movement, and documentation. The tools I make function within variable orientations and are implemented as both physical barriers and thresholds into alternate, virtual domains. Intersecting fragments of sound and moving image build a nexus of superimposed spatialities, while material constructions are enveloped in ephemeral intensities. Within this compounded environment, the embodied perspective of the viewer is charged as an active site through which durational, contemplative experiences can pass. Reverberation, the ghostly refrain of a sound calling back to our ears from a distant plane, can intensify our emotional experience of place. My thesis project Planar Refrains utilizes four electro-mechanical reverb plates, analog audio filters designed to simulate expansive acoustic arenas. Historically these devices have provided emotive voicings to popular studio recordings, dislocating the performer from the commercial studio and into a simulated reverberant territory of mythic proportions. The material resonance of steel is used to filter a recorded signal, shaping the sound of a human performance into something more transformative, a sound embodying otherworldly dynamics. In subverting the designed utility of reverb plates, I am exploring their value as active surfaces extending across different spatial realities. The background of ephemeral sonic residue is collapsed into the foreground, a filter becomes sculpture, a sculpture becomes an instrument in an evolving soundscape.

Uppsatsens syfte är att prövande teoretisera kring ett annorlunda hållbarhetsbegrepp, med estetiken och etiken som nav, och vad ett sådant skulle kunna innebära för hur ett förskoledidaktiskt hållbarhetsarbete kan förstås och realiseras i praktiken. Med en etnografisk ansats och deltagande observationer prövas teorin mot tre vardagliga exempel från en förskolas verksamhet. Observationerna visar prov på hur barn experimenterar med själva tillvaron på sätt som med vägledning av bl.a Félix Guattaris tankar och begrepp kan förstås som estetiska och skapande bortom en traditionell förståelse av estetik. Studiens resultat visar på möjligheten att vidga förståelsen av det estetiska arbetet i förskolan utanför ateljéns gränser. Vidare visar resultaten på möjligheten att lägga till hållbarhetsdimensioner i förståelsen av ett estetiskt arbete i förskolan. Slutsatser som dras är att detta skulle kunna betraktas som ett tillägg till ett traditionellt hållbarhetsarbete och de begrepp, praktiker och platser som där planeras ingå.

My practice explores phenomenal poetic truths that exist in fissures between the sensual and physical qualities of material constructs. Magnifying this confounding interspace, my work activates specific instruments within mutable, relational systems of installation, movement, and documentation. The tools I fabricate function within variable orientations and are implemented as both physical barriers and thresholds into alternate, virtual domains. Intersecting fragments of sound and moving image build a nexus of superimposed spatialities, while material constructions are enveloped in ephemeral intensities. Within this compounded environment, both mind and body are charged as active sites through which durational, contemplative experiences can pass. Reverberation, the ghostly refrain of a sound calling back to our ears from a distant plane, can intensify our emotional experience of place. My project Planar Refrains utilizes four electro-mechanical reverb plates, analog audio filters designed to simulate expansive acoustic arenas. Historically these devices have provided emotive voicings to popular studio recordings, dislocating the performer from the commercial studio and into a simulated reverberant territory of mythic proportions. The material resonance of steel is used to filter a recorded signal, shaping the sound of a human performance into something more transformative, a sound embodying otherworldly dynamics. In subverting the designed utility of reverb plates, I am exploring their value as active surfaces extending across different spatial realities. The background of ephemeral sonic residue is collapsed into the foreground, a filter becomes sculpture, and this sculpture becomes an instrument in an evolving soundscape.

This essay aims to understand the relationship between Shakespeare’s poetical formula, which is Hamlet´s claim that “time is out of joint” and Kant’s positioning of time (and space) based on Deleuze’s conception in Sur quatre formules poétiques qui pourraient résumerla philosophie kantienne from 1986. I explore this relationship in the way of how Deleuze relates it to the entanglement between time and movement. With Kant, time becomes purely formal and it has unrolled itself into a pure “straight line” that is all the more mysterious for being simple. The consequences of this new Kantian definition of time are tremendous: the ancient cosmological harmony between the world and the heavens, man and the heavenly gods have broken down. Time has ceased to be an image of the eternal order and time has ceased to be curved by God. When time has shaken off its subordination to the periodical movements of planets it is out of joint, and in order to see how that time operates I will relate it to the temporality within tragic drama.

O processo de fusão entre a arte e a arquitetura, é chamado nesta pesquisa de Artectura, sendo esta uma experimentação de práticas realizadas no ambiente urbano. Foram investigados projetos de arte urbana com o objetivo de criar possíveis ações políticas. Atribui-se assim, ao profissional arquiteto a função de fomentador de ações, compreendendo a cidade contemporânea. Citamos projetos artísticos que partem de uma interação com o espaço urbano e criticam o poder opressivo, apontando como poderiam ou não ser contextualizados dentro da teoria do Diagrama. De acordo com Gilles Deleuze e Félix Guatarri o Diagrama possui alguns aspectos, entre eles: aspecto geo-espacial, aspecto aritmético e aspecto afetivo. Na tentativa de exemplificar uma estratégia e elucidar a teoria realizamos uma performance na cidade de Jundiaí, nos pautando nos aspectos do Diagrama. A partir da escolha do Diagrama de Deleuze foi possível criar uma abordagem baseada em processos, onde a ação é mais efetiva se entendida dentro de uma organização metodológica. Passa-se a entender o espaço urbano como fomentador de afetos e de relações sociais em uma construção da cidade a partir do olhar de quem a constitui. Convergimos diferentes áreas a fim de criar uma democratização no espaço urbano, para isso, foi investigado o controle social utilizado pelo Poder, para possibilitar maior liberdade de usos. / The process of merging art and architecture in this research is Artectura named, being an experiment in urban environment. We investigated urban arts projects, in order to create potential political actions. Therefore, the professional architect gains the function as developer of actions, understanding the contemporary city. We also mentioned artistic projects based in urban spaces interaction, which criticize the oppressive power. We analyzed the possibility to contextualize inside Diagram´s theory, agreeing with Gilles Deleuze and Felix Guatarri in: spacial aspect, arithmetic aspect and affective aspect. Trying to exemplify a strategy and elucidate the theory, we made a performance art in Jundiai city, gathering the Diagram´s aspects. From the Diagram choice was possible to create an approach based in process, the action is more effective if better understood in a methodological organization. The urban space comprehension becomes a relational and an Affect social fomenter in the city construction, through the inhabitant perspective. The range of different areas converged in urban space practices, studying the social control, normally used by the Power reaching democratic spaces.