Much of my artistic inspiration comes from my walks in nature. I explore the many different textures of stones, wood chips, tree bark, water ripples, lily pads, birds' feathers, and webbed feet. I find that the reflections on the surface of a pond, and the shadows and highlights on my subjects, are most beautifully captured as they are veiled by the dusk sunset. Sometimes I prefer to capture an image more inclusive of the environment. Other times I am more intrigued by the up close view of a subject, sometimes abstracting it. Through photography I can capture the quiet moments in nature, whether shooting an image of the graceful gaze in a goose's eye, or the ripples created on a pond's surface after a duck glides by. The colors of nature are quite beautiful, but often add an extra element of distraction in photos. Soft black and white nature images are my way of providing a quiet contrast to the everyday hustle and bustle we have all become so accustomed to.

This thesis explores how photojournalists and the images they produce can be used to enhance global and local understanding of genocide, and help in both reconciliation and remembrance in post-conflict societies. It takes the war in the Former Yugoslavia as a case study, and argues that the act of actively bearing witness has a distinctive moral quality that goes beyond that of simple passive witnessing, and that it has a potential therapeutic and validating potential as well as an accusatory or documentary one. The photographer can become a proxy witness for the rest of society, and the product of this witnessing, the photograph, has a culturally privileged position in light of the foregrounding of the visual as believable evidence. Through the material presence of the photograph, and its portability and mobility, the act of witnessing is transferred then from the photographer as the witness to the event to the photograph itself as the vehicle through which this privileged visualisation is disseminated. When the potential for the photograph as a carrier of memory is added, the potential is then generated for photographs of atrocity to become encapsulated arguments about the abuse and war crimes, and thus as markers of what could be called ‘moral memory’, generating ethical arguments and positions about what is right and wrong in societies responses to conflict and suffering. The thesis develops a series of categories of witnessing that include the Presentational, the Participatory, the Prosecutorial and the Post Factum, explored though case studies of the work of photographers during the conflict to explore how Genocide can be reported more successfully, and works from the post-conflict era to demonstrate how visual images can be used to heal the wounds of war as well as remember its victims.

This thesis examines the pioneering British weekly magazine Picture Post (1938-1957) which introduced a mass audience to the innovative style of European photojournalism characterised by the format ofthe photographic essay. Founded by the Hungarian emigre, Stefan Lorant (1901-1997) and led by Sir Tom Hopkinson (1905-1990) from 1940 until 1950, Picture Post has not yet been the focus of a single academic publication. This thesis explores the concept of visual narration through a selection of photographic essays published in the magazine between 1938 and 1945, and utilises the unpublished corresponding contact sheets to expose the manipulation of photographs. The present work has utilised archival material of the Picture Post archive, which forms pmi of the Hulton Archive at Getty Images, London, to inform a discussion surrounding the topics of manipulation, migration and memory in relation to photography, in order to identify the specific approach of Picture Post to photographic narration. The subject of migration and visual narrative is of great importance to this study, and so this thesis will promote the significance of the presence of emigre photographers in Britain during the Second World War, in order to redefine the analytical framework for looking at the photographic essay.

This thesis contributes to current scholarly debates concerning the witnessing and visualisation of twenty-first century systemic and "socially abstract" state-corporate-military power and its in/visible forms of violence. The nexus of neoliberal democratic hegemony, global corporatization, digital technologies of communication, and modern warfare have produced radically evolving contexts of war photography. This includes the engendering of artdocumentary practices which mark a significant departure from socially "realistic" representations to more abstract and conceptual visualisations. In this context, "postphotographic" imagery is not adequately served by recent ethico-political debates regarding the image-making/viewing of direct and/or symbolic violence, which tend to neglect that which is not seen in contemporary news frames (of what is being referred to here as traditional media), namely, the in/visible systems, structures and processes of state-corporate-military power. Accordingly, this thesis argues visual culture scholarship requires recalibrated vocabularies as well as revised conceptual and methodological frameworks for the critical exploration of the subject of systemic, socially abstract power/violence. This thesis strives to advance its contribution to theory-building by way of crafting an alternative approach to critically understanding art-documentary photography and its viewing/reception within a state-corporatist and military-mediatized dispensation. It takes a cocreative and forensic approach to the selected imagery of the UK/US-based photographers Adam Broomberg and Oliver Chanarin, Simon Norfolk, Trevor Paglen, Edmund Clark and ~ 2 ~ Lisa Barnard, critically deploying the trans/interdisciplinary conceptual constellation of, inter alia, "Plexus", "war", complicity, “Vergangenheitsbewältigung”, "Gegenwärtige Bewältigung", corporate personhood, the open/public secret, the State-Corporate Exception, the "cadastral" and the "proxy measure". The concept of a "dispositif" (Rancière) is engaged in the analysis of the imagery, taking into critical account the heterogeneous elements beyond their visible content and framing. By its close, this thesis demonstrates why its refashioning of these concepts to serve as methodological and theoretical tools recasts pertinent aspects of current debates, affording critical and co-creative "ways of seeing" power, its violence, and its visualisation.

Thesis (M.A.)--Ohio State University. / Includes bibliographical references (leaves 55-57). Available online via OhioLINK's ETD Center

Thesis (M.A.)--University of Wisconsin--Madison, 1982. / Typescript. Title from title screen (viewed Mar. 15, 2007). Includes bibliographical references (leaves 166-167). Online version of the print original.

Thesis (Ph. D.)--Oregon Graduate Center, 1980.

Thesis (doctoral)--Stockholm University, 1999.

Thesis (M. Arch.)--University of Hong Kong, 1997. / Includes special report study entitled: Spatial transmission device. Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 2002. / Includes bibliographical references.