This thesis proposes that an investigation into the phenomenon of doubling may engage architecture with a type of desire that has deep rooted connections with the complexities of human nature, with the very human condition of desiring to know who/what/where/when/how we are. It proposes that an experience of doubling is suggestive of a specific kind of affective space that tests this relationship, expanding into the interval we have formed between our body, its being and space. The proposal is to explore the material, spatial, and psychological characteristics of such a phenomenon - to understand the virtual space created through this doubling and its architectonic characteristics. The design ambition of this thesis is to construct an architectural fiction that engages with this doubling. If architecture has the capacity to embody the ambitions and anxieties of society, the work produced attempts to invoke, through choreographed doublings manifested by the movement of figure and light through constructions in time, that human condition of desire that is concerned with finding/defining itself in the unknown, not to provide an answer for what the unknown is, but to engage with its enigmatic nature. By engaging in the protean dynamics of doubling and desire, this thesis attempts to poeticize the interval between the body and its built environment.

<p>The basic question of "Political Cinema: The Historicity of an Encounter" is whether or not it is possible to think a concept of political cinema while affirming the autonomous capacities of both cinema as an art and politics as the thought of collective self-determination. Is it, in other words, possible to elaborate a relationship between cinema and politics that would at the same time establish a separation between the two and thus refuse to reduce one to the other. Such a relation of separation is called an encounter. Cinema encounters politics insofar as politics affects it and insofar as cinema can produce certain political effects, but also only insofar as cinema itself is immanently capable of configuring this relationship to politics. Following this conviction, the question of political cinema has to be considered at a distance from questions of genre, where political cinema would be merely one among other cinematic genres, and distinguished from the problem of political instrumentalization of cinema (propaganda). Political cinema refers to real cinematic inventions that happen in relation to processes of human emancipation.</p><p>"Political Cinema" tests this basic conviction through four separate case studies. These case studies are limited and local analyses, which nevertheless cover a broad historical background and are, furthermore, meant as concrete points from which more general theoretical questions can be addressed and formulated. The introductory statement (Chapter 1) sets up the theoretical stakes of the dissertation. Part I analyzes the Soviet filmmaker Sergei Eisenstein's appropriation of several elements of laughter - comedy, militant humor, carnival, caricature and satire, etc. - as specifically cinematic means Eisenstein used to bring his films as closely as possible to the revolutionary process of the October Revolution and the break the latter introduced into the history of humanity. Part II of the dissertation (Chapters 3 and 4), presents a discussion (primarily on the example of Charlie Chaplin's Modern Times) of the figure of the worker as a forceful cinematic symbolization of the existence of the modern proletarian masses, through the creation of which, however, cinema does not give up the effective autonomy of its expression. Part III, which consists of an analysis of the work of the Palestinian director Michel Khleifi, shows how the filmmaker's strategy of blurring the boundary between documentary and fiction is an artistic procedure (a cinema of "documentary fiction") that makes visible the complexity of Palestinian historical experience and memory, but does so at a distance from any direct political discourse on the question of Palestine (Chapter 5). And finally, the Conclusion to the dissertation, presents an analysis of the recent Romanian film, which renders visible striking new ideas of political cinema that are, however, produced in the absence of anything more than mere traces of what deserves to be called politics (Chapter 6)</p> / Dissertation

Numerous studies have shown that culture is a critical factor affecting leadership perceptions. Although these studies provide useful information about cultural differences, they overlook the fundamental difference between East Asians and Westerners, a holistic view versus an analytic view. In addition, these studies are based on methodologies in which verbal or pictorial stimuli are presented by researchers under conditions of high capacity, which does not allow other representational differences to be observed. This study investigates leadership representations in South Korea and the United States based on hypotheses about fundamental differences in social cognitive processing among South Koreans and Americans, as revealed in spontaneously generated visual productions. The results suggest that South Koreans have a holistic view, whereas Americans have an analytic view of leadership representations. Implications and future directions for research on cultural differences in leadership representations are discussed.

<p>In this thesis, design aspects of fully integrated multibandmultistandard front-end receivers are investigated based onthree fundamental aspects: noise, linearity and operatingfrequency. System level studies were carried out to investigatethe effects of different modulation techniques, duplexing andmultiple access methods on the noise, linearity and selectivityperformance of the circuit. Based on these studies and thelow-cost consideration, zero-IF, low-IF and wideband-IFreceiver architectures are promising architectures. These havea common circuit topology in a direct connection between theLNA and the mixer, which has been explored in this work toimprove the overall RF-to-IF linearity. One front-end circuitapproach is used to achieve a low-cost solution, leading to anew multiband multistandard front-end receiver architecture.This architecture needs a circuit whose performance isadaptable due to different requirements specified in differentstandards, works across several RF-bands and uses a minimumamount ofexternal components.</p><p>Five new circuit topologies suitable for a front-endreceiver consisting of an LNA and mixer (low-noise converter orLNC) were developed. A dual-loop wide-band feedback techniquewas applied in all circuits investigated in this thesis. Threeof the circuits were implemented in 0.18 mm RF-CMOS and 25 GHzbipolar technologies. Measurement results of the circuitsconfirmed the correctness of the design approach.</p><p>The circuits were measured in several RF-bands, i.e. in the900 MHz, 1.8 GHz and 2.4 GHz bands, with S11 ranging from–9.2 dB to–17 dB. The circuits have a typicalperformance of 18-20 dB RF-to-IF gain, 3.5-4 dB DSB NF and upto +4.5 dBm IIP3. In addition, the circuit performance can beadjusted by varying the circuit’s first-stage biascurrent. The circuits may work at frequencies higher than 3GHz, as only 1.5 dB of attenuation is found at 3 GHz and nopeaking is noticed. In the CMOS circuit, the extrapolated gainat 5 GHz is about 15 dB which is consistent with the simulationresult. The die-area of each of the circuits is less than 1mm2.</p>

Object perception is necessary to our understanding of the visual world, yet its neural mechanism remains poorly understood. The goal of this dissertation is to shed light on this mechanism. Current computational models of object perception suggest that regions on opposite sides of a shared border compete, with the winner perceived as the shaped object and the loser as its locally shapeless background (or ground). Recent behavioral work indicates that the result of this competition is suppression of the ground at the level of object shape--a finding not predicted by models. Here, I present three studies that extend this previous research on ground suppression as a mechanism by which object perception is accomplished. I first show that the amount of suppression applied to the ground depends on the amount of competition for object status (Salvagio, Cacciamani, & Peterson, 2012). I then provide the first neural evidence of ground suppression from shape-level competition at both high and low levels of the visual hierarchy, with the latter arising from top-down feedback (Cacciamani, Scalf, & Peterson, submitted). Finally, I show that semantic information pertaining to the ground is accessed prior to the assignment of object status, but unlike shape information, is not suppressed (Cacciamani, Mojica, Sanguinetti, & Peterson, 2014). Together, the three studies that comprise this dissertation demonstrate that ground suppression arising from shape-level competition underlies object perception. This research contradicts traditional theories stating that objects are processed unidirectionally through the visual system in a single feedforward pass; instead, it supports theories of object perception entailing dynamical feedforward and feedback processes.

Edward H. Linfoot developed an integral expression for the irradiance in the image of a lens or mirror under the Foucault knife-edge test as a function of figure error. Samuel Katzoff developed a convenient method of inverting the linearized form of Linfoot's equation to express figure error in terms of the irradiance distribution in the image (Foucault pattern). This paper presents the results of an experimental study on a 20-centimeter-diameter f/5 spherical mirror to complement the analytical work of Linfoot and Katzoff. The results clearly affirm the practicability of the Foucault test to quantitative evaluation of figure errors of near-diffraction-limited optical elements via the Linfoot/Katzoff formulation. The evaluation was based on a comparison of Foucault-test figure error data with parallel data from independent scatterplate interferometer measurements. The results are particaularly significant in that they reveal the fallacy of the widespread regard of the Foucault test as limited to qualications for the field of optical testing, since the test is basically simple, its implementation for quantitative figure error analysis is straightforward, and the associated experiemntal data processing is much simpler than that of interferometric testing methods. The question of potential use in figure error sensing in the planned large orbital telescope seems particularly pertinent.

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This thesis proposes that an investigation into the phenomenon of doubling may engage architecture with a type of desire that has deep rooted connections with the complexities of human nature, with the very human condition of desiring to know who/what/where/when/how we are. It proposes that an experience of doubling is suggestive of a specific kind of affective space that tests this relationship, expanding into the interval we have formed between our body, its being and space. The proposal is to explore the material, spatial, and psychological characteristics of such a phenomenon - to understand the virtual space created through this doubling and its architectonic characteristics. The design ambition of this thesis is to construct an architectural fiction that engages with this doubling. If architecture has the capacity to embody the ambitions and anxieties of society, the work produced attempts to invoke, through choreographed doublings manifested by the movement of figure and light through constructions in time, that human condition of desire that is concerned with finding/defining itself in the unknown, not to provide an answer for what the unknown is, but to engage with its enigmatic nature. By engaging in the protean dynamics of doubling and desire, this thesis attempts to poeticize the interval between the body and its built environment.

This Master’s Thesis seeks to explain the process of initiation undergone by Henry James’s characters. Characters are chosen for initiation into forbidden knowledge, and, like the Biblical Adam and Eve, are exiled as a result. Though initiation is erotic, it is not sexual, and society falsely perceives a sexually charged relationship between the initiator and the initiate, also called the complementary pair. The initiate faces exile and death because of his forbidden knowledge. He no longer has a place in his society, which leads to his social death and eventually physical death. James’s reader is initiated along with the characters, becoming a critical reader who no longer sees reading as a passive activity but brings his own judgment to the text. The Jamesian Reader does not face the same fate as the initiate, but he does change substantively as a result of his new perspective on the text.

This paper is about the subjectivity of the body, and what this means in terms of my artistic practice. Composed in two sections, the first section addresses issues of personal history as content, the use of language in relationship to visual art, and experimental language as a tool to communicate visceral knowledge. I discuss the feminist critique of cultural, artistic and academic hierarchies, and explore how these themes inform my work. The second section examines the body of work I have developed within the MFA program. I explain the artists who have influenced my development, and give specific examples, whenever possible, of formal and conceptual influences. I use images of my own paintings, studio, and exhibitions to illustrate the progression of my practice. In conclusion, I contemplate the upcoming thesis exhibition, and explain my intentions regarding its completion. / vi, 56 leaves : col. ill. ; 29 cm