My photographic research intends to locate and document signs of climate change within the landscape of Pevensey Levels. This is significant in that within the relatively temperate climate of South East England, the phenomenon of climate change does not initially seem to be noticeable to the human eye. The project aims to integrate theory and practice in order to generate a reciprocal dialogue between the two endeavours. The photographic fieldwork has informed my choices of theoretical texts and I have then analysed these in order to further consider the notion of climate change visibility. In turn, the theoretical framework has informed the photographic practice by creating the focus of my visual investigations within the landscape. These concepts include the notion of the landscape as a cultural signifier, phenomenology and perception, geomorphology and the idea of a photographic archaeology of the landscape, narrative, mnemonics, and indexicality. The photographic practice reveals how the landscape is managed and controlled to mitigate climate change. The marshland is drained with the use of pumping stations, sluice gates and networks of waterways. Water channels are enlarged to increase their capacity in order to prevent flooding. These act as conduits to channel excess ground water to outfall pipes at the seafront. Barriers such as shingle beaches are maintained as a consequence of rising sea levels and winter storms. There are five chapters in the thesis. Chapter One considers the landscape of Pevensey Levels: its geology, geography, history, occupants, management agencies, and character of the land. Chapter Two explores the issues around the phenomenon of climate change and in what ways it might be perceived and represented. Chapter Three presents the context of landscape photography and some photographic representations of climate change, and I have situated my own photographic enquiries in relation to these examples. Chapter Four outlines the concepts that contextualise my photographic practice. Chapter Five considers examples of the photographic images in terms of their narrative and the ways in which climate change is indexed. The research finds that it is possible to photographically document the presence of climate change, and concludes that its visibility is situated in three characteristics. First, in the control and management of the landscape, which results from scientific research on climate change. Then, in the intensive utilisation of the land, which consequently causes water and air pollution. This hinders recovery from the effects of climate change. Finally, plants respond to fluctuations in temperature and rainfall, which causes abnormalities in their growth patterns. The research shows that photography's ability to index and act as a mnemonic device aids the search for phenomena of climate change. Furthermore, documenting these phenomena photographically can intensify the spectator's perceptions of the landscape. The culmination of the practical element of the research is a collection of 97 landscape photographs presented on CD Rom. 51 of these photographs have been selected for inclusion in a prototype photobook (Appendix 15), in a limited edition of ten. The photographs are grouped according to their attributes related to climate change in the landscape under four general headings: Mechanism, Flux, Damage and Regeneration, each of which has sub-headings. This provides the narrative structure for the body of photographic work. The photographs are annotated with their place names, OS Grid Reference and short description. This information has relevance for future observations and photographic research at Pevensey Levels. The title for the book and the portfolio of original colour photographs is Unveiling Climate Change At Pevensey Levels. A portfolio of fifteen original photographic C-Type prints, size 16 x 20 inches, has also been produced (see Appendix 14).

In this thesis, we study the structural and optical properties of GaN-based material structures grown on silicon substrates by temperature-dependent Photoluminescence (PL)¡BRaman¡BXRD and time-resolved PL measurements. In non-intentionally doped GaN structure, various excitonic transitions near band edge are observed and identified. We estimate the stress of the GaN samples to be 0.671 Gpa and 0.57 Gpa by using the energy shift of neutral-donor-bound exciton transitions. This is consistent with our Raman measurements. According to the XRD patterns, the length of InGaN/GaN multiple quantum wells in samples D¡BE¡BF are 43.83 nm¡B65 nm and 68.27 nm. In these samples, multiple PL peaks at low temperatures are observed. Carrier recombination lifetime have been measured as well.

In his philosophical treatise on photography, The Engine of Visualization: Thinking Through Photography, Patrick Maynard makes a detailed and convincing case that photography, like other technologies, has been developed to 'amplify our powers to do things' - in this case to imagine. Photography is, fundamentally, an 'imagining technology' and photographs - 'depictive pictures' - gain their extraordinary vividness from the efficiency of this technology: Given that we have, in the first place, to look at their marked surfaces in order to be incited and guided to some imagining seeing, pictures of things convert that very looking into an object of imagining. We imagine the represented situation, and also imagine of that looking that gives us access to it that it - our own perceptual activity - is seeing what is depicted. (1997: 107) Photographs are to be used in this thesis as part of an investigation, already proceeding in literary analysis, into representations of racialised space and spatial contest within black life, specifically in Harlem in the first half of the twentieth century. John Roberts, another writer on photography, provides a critical starting point for this enterprise in his book on 'realism, photography and the everyday', The Art of Interruption, in which he applies Henri Lefebvre's theory of a 'critical practice of space' to photography. Roberts examines the part that this technology plays in revealing 'the violence inherent in the production of the abstract space of the market' through its representations of places and spaces. Roberts' belief is that to 'open up the social landscape of the city to representation ... is to see the permanent or transitory result of the complex and ongoing struggle over the legal and symbolic ownership of place' (1998: 194). 'Space,' writes Michel Foucault, 'is fundamental in any form of communal life; space is fundamental in any exercise of power' (1994: 361). The practice of everyday life and the expression of dominance and resistance are expressed spatially at all levels, from the cityscape to the space created by the body. Such 'lived' spaces can be read. They can, as African American polemicist bell hooks remarks, 'tell stories and unfold histories' (1990: 152). Hailed once as the capital of the Negro world and just as swiftly transformed into the 'dark ghetto', Harlem is the paradigm of the black city within a city, placed inside the grid of the American metropolis but set at a distance by de facto, if not de jure segregation. Harlem's invisibility to the wider, whiter world is both symbolic and actual. When, in November 2000, I attended a celebratory reading of the work of the Harlem Renaissance writers, held at the Apollo Theater, perhaps the world's most famous black venue, the Parks Commissioner was due to open proceedings. Arriving late, he made his speech, in which he admitted that this was, after many years in post, his first visit to the Apollo. Venturing north of his main patch - Central Park - was clearly still an adventure, as it had been for the white bohemians and slummers of the 19205, heading off for jazz parties and wild times. In introducing an exhibition of Austin Hansen's photographs of Harlem in 1989 at the Schomburg Center for Research in Black Culture, the photo historian Rodger C. Birt acknowledged this invisibility: Harlem is as much a symbol as it is a real place. Harlem is uptown and its opposite, downtown, begins at 110th Street, where the park ends. Uptown is black. Downtown is white. Uptown is hip. Downtown is white. Uptown is poor. Downtown is white. Uptown is emotion. Downtown is white. These, and a myriad of other "definitions," ... have served to mark off Harlem from the rest of New York and, in effect, have created out of the reality a kind of terra incognita. (in Hansen, 1989: unpaginated) The binary of black and white, split here by the colour line of 110th Street, runs through much of the writing and thinking about Harlem. What makes Birt's statement particularly interesting is not its reiteration of cultural stereotypes, powerful though they might be, but its unexpressed assumption that the 'white' section of New York is entirely knowable, a territory that - unlike Harlem - can easily be mapped. Birt's suggestion is that photography can provide a map – a cultural guide to Harlem as it is, and was. While I do not accept that photographs are transparencies, or windows on the world, I will be pursuing and exploring the thought in this thesis that, in depicting 'black space' - that is, public and private space as it is and has been lived (and thus inscribed) by African Americans - photographers, both white and black, make Harlem visible. I suggest that photographs themselves can, indeed have to be used as tools for imagining and telling stories. These stories are enacted in space, both the actual space that is recorded chemically or digitally on photographic paper and the virtual space that the photograph, as a (re)presentation of that space, frames and yet opens up to the mind and the senses of the reader. In the play between perception and imagination, between the fixed, indexical imprint and the world that the photograph hints at in its fragmentary condition, we can find a way into Harlem's complexities and ambiguities. Before exploring these ideas through a critical analysis of selected photographs, the Introduction will provide an outline of the historical and theoretic context. Following an account of the development of photographic culture in Harlem from 1915 to 1955, I examine how the black photographic archive is currently shaped and presented, partly in relationship to the production of photographs by white photographers in Harlem during the same period. Finally, I explain my approach to reading photographs and the space they (re)present, and the way in which I have selected and organised the photographs to make my case. The main body of this study then follows. This is divided into six chapters, each using photographic comparisons and analysis to map the struggle for legal and symbolic ownership of space. Chapter One looks at Harlem as a distinctive landscape, the paradigmatic black city produced by white power and black resistance. Having established how the colour line fractures urban space at this level, I then trace its course through other spaces and places. Chapter Two looks at political events taking place on the streets of Harlem, from marches to riots, noting that, by deliberately occupying and writing on the urban fabric, these events create a kind of place in time. Chapter Three looks closely at street activity in more general terms, uncovering how city space is negotiated, claimed and defended as African Americans become urban and learn to 'know their place'. Chapter Four enters the Harlem apartment, a private space compromised by social and economic forces but where African Americans have created a 'home place'. Chapter Five examines what Adrienne Rich calls 'the geography closest in': the body as it appears in the space of the photographic studio and in the context of other places in the city. Chapter Six draws these themes together by looking at The Sweet Flypaper of Life, a photo text about Harlem, as a story of spaces and spatial practices. Finally, my broad arguments and findings are briefly summed up in Conclusions.

This thesis is concerned with an investigation into the possibilities of implementing various aspects of a purely digital stereo-photogrammetric (DSP) system on the IBM 3090 150E mainframe multi-user computer. The main aspects discussed within the context of this thesis are:-i) Mathematical modelling of the process of formation of digital images in the space and frequency domains.ii) Experiments on improving the pictorial quality of digital aerial photos using Inverse and Wiener filters.iii) Devising and implementing an approach for the automatic sub-pixel measurement of cross-type fiducial marks for the inner orientation, using the Gradient operator and image modelling least squares (IML) approach.iv) Devising and implementing a method for the digital rectification of overlapping aerial photos and the formation of the stereo-model.v) Design and implementation of a digital stereo-photogrammetric system (DSP) and the generation of a DTM using visual measurement.vi) Investigating the feasibility of stereo-viewing of binary images and the possibility of performing measurements on such images.vii) Implementing a method for the automatic generation of a DTM using a one-dimensional image correlation along epipolar lines and experimentally optimizing the size of the correlation window.viii) Assessment of the accuracy of the DTM data generated both by the DSP and the automatic correlation method.ix) Vectorization of the rectification and correlation programs to achieve higher speed-up factors in the computational process.

This thesis documents a body of research that links the field of electro-acoustic diffusion and spatialisation with practice in the music and film post-production industries. Three research questions are posed: "How can the physical user-interfaces used for panning by the music and film post-production industries offer creative alternatives to the fader-based hardware approach commonly used for electro-acoustic performance?" "How can a Digital Audio Workstation (DAW) be used as an alternative to dedicated panning hardware? "How can emerging programming technologies offer creative alternatives to the MAX/MSP or hardware-based tools commonly used for sound spatialisation?" This practice-based PhD addresses these questions by designing, developing and testing a set of hardware and software tools, the Requirement Specification for this `Toolset' results from literature review and critical analysis of current systems to determine potential research gaps. This analysis is followed by the selection of a suitable methodology for development and testing that allows the research questions to be explored effectively and results in the following Toolset: OctoPanner: Amulti-featured eight-channel 3D touchscreen panner application for Apple's Mac OS X controlling a DAW hosted customisable VST 3D panning plug-in with C++ source code. ShapePanner: A synchronisable shape-based sequencer application for Mac OS X inspired by Experimentalstudio's Halaphon. The user is ab{e to describe the movement of sounds in a 3D space using shape primitives such as lines and circles and thus extend the capabilities of the Toolset beyond realtime manual manipulation of sounds. 3DMIDIVisualiser: An application to allow the user to work without access to a multi-speaker system by enabling the movement of sounds to be viewed within a virtual room. Foot Puck: Afoot-controlled panning controller enabling a musician to spatialise their instrument using foot movement. Initial prototyping was achieved using Cycling `74's Max/MSP but the final applications are written using Apple's Cocoa environment and Objective C. This thesis gives close analysis and discussion of the various stages of research carried out; including the use of Apple's CoreMlDl and CoreAudio Clock OS X Core Services in a Cocoa application.

This thesis examines Malaysian cinema in the context of the various processes and discourses of modernity. Analysing the processes of modernity which Malaysians are engaged with provides a crucial theme by which to demonstrate how various socio-political ideologies, institutions, and mechanisms may be promoted, rejected, or otherwise negotiated. This negotiation takes place in both Malaysian society and the cinematic representations of that society. Therefore, two discrete disciplines have been incorporated, those of anthropology and film studies. In the course of the thesis, discourses of modernity, encompassing processes and institutions, are addressed in terms of existing ethnographic literature, my own ethnographic research, and in the analyses of contemporary films. The introduction of an ethnographic background for the society in which the films are produced opens new vistas for film analysis. However, while the injection of anthropology into a film study has been a major concern, the importance of the reverse is also argued. Further, this thesis provides a multiple rendering of analyses, arguing that, as a symbolic media and/or art form, cinema is inherently open to alternative readings, 'mis'-readings, and rereadings. One of the goals of thesis is, through a different synergy between film and anthropology, to provide some alternative answers to the ever-present question haunting the Malaysian cinema industry, namely "Why aren't our films successful?"

The subject of this study is Sub-Sahara Africa Anglophone Video-moviemaking and the research process is an empirical enquiry into how this contemporary cultural industry has emerged in the region, bringing with it a paradigmatic shift in the concept of cinema on the African continent. Within this context I look at the interventions that necessitate and define this industry pioneered by Ghana and Nigeria. These interventions are historical, economic, social and political. To put this research into perspective I commence with the critical question: why is it important to do a study on Sub-Sahara Anglophone video-moviemaking? It is an important subject because this is the history that is barely constructed. It is a history that follows traditional lines of filmmaking and yet distinctly differs from the traditional concept of high culture celluloid filmmaking. It is an industry that is a significant part of the economies of producing countries. The products of this industry also constitute a major source of entertainment in Africa and among African immigrants in the West. Yet, studies on African moviemaking practices have, until most recently, bypassed this important industry. By undertaking this research I explore Sub-Sahara Africa videomoviemaking in order to open discussion and critical review of this creative industry that forms an important part of the economic and cultural systems in the region. This thesis is a hybrid with two components – a text document and an audio-visual documentary on a digital versatile disk (DVD). The presentation of these two components reflects the expansion of dissemination platforms for study results. In presenting these two different formats I have to reduce certain things from each side but I do so in such a way that they work together. In that working together is an emerging corporative that intervenes beyond academia.

In the mid-1960s and early 1970s, experimental and independent cinema received a considerable amount of support from the U.S. federal government through the American Film Institute (AFI), and from private philanthropies and arts institutions such as the Rockefeller Foundation (RF) and the Museum of Modern Art (MoMA). These measures appeared at a moment when the theatrical film industry was reorganising its industrial model and its main trade organisation, the Motion Picture Association of America (MPAA), was revising its moral standards. Only recently scholars have started historiographical research on experimental cinema's connection with arts and academic infrastructures, yet they have not paid similar attention to the FI's support for experimental and independent cinema production. Thus, they have failed to explain experimental and independent cinema's complex relationship with both the theatrical film industry and philanthropic enterprises during that period. In this project I address these connections through archival research on the FI's experimental and independent film production fund, the Independent Filmmaker Program (IFP), relating this measure to other distribution and exhibition policies. I locate the origins of these policies in pre-WWII federal government's and RF's film education and propaganda programmes. Then I further contextualise the measures within the wider international state of the film industry between 1945 and 1974. Thus I argue that the policies advanced in the 1960s engaged with some of the demands of experimental and independent filmmakers and critics for freer personal expression and more flexible modes of film production. At the same time, these policies contributed to expand non-theatrical film production and update film education in line with the interests of the main theatrical film industry. This study contributes to understand a key moment in American film history considering both the relationship between the U.S. federal government, private philanthropies and the MPAA, and between institutions and filmmakers.

L’infection primaire par le cytomégalovirus (CMV) humain est asymptomatique. Le sujet infecté reste cependant porteur du virus à l’état latent. Le CMV ne se réactive que sporadiquement chez l’individu immunocompétent. Chez les patients immunodéprimés, la réactivation du CMV peut induire des maladies à CMV touchant des organes vitaux et peut mettre en jeu le pronostic vital du patient. Les traitements standards sont efficaces mais leurs effets secondaires et l’apparition de souches virales résistantes relancent l’engouement pour le développement de nouvelles thérapies. Lors de ma thèse, j’ai utilisé le système CRISPR/Cas9 afin de déstabiliser le génome du CMV. Nous avons choisi de cibler le gène UL122/UL123 codant pour les molécules immediate early essentielles au cycle lytique réplicatif et à la sortie de la latence. Nous avons comparé deux stratégies utilisant soit un soit trois gRNAs, respectivement appelées singleplex et multiplex ciblant ce même gène. Alors que le singleplex induit des insertions et délétions au site de coupure du gRNA, la stratégie multiplex induit la délétion de 3500 paires de bases du gène ciblé. De ce fait, la stratégie multiplex bloque efficacement l’expression du gène ciblé, la réplication virale et le relargage de nouveaux virions. Une autre stratégie a été développée pour cibler spécifiquement le génome à l’état latent. Les deux régions homologues TR et le gène LUNA sont ciblés par deux gRNAs. Cette seconde stratégie résulte elle aussi en une diminution du nombre de copies de génome viral lors du cycle lytique de réplication. Il est désormais possible d’envisager de nouvelles solutions thérapeutiques anti-HCMV avec la stratégie CRISPR/Cas9. / The human cytomegalovirus (HCMV) primary infection is usually asymptomatic but leads to latent infection of blood progenitor cells. Immunocompromised patients are at high risks of HCMV reactivation, which is associated with severe end organ diseases and increased mortality in transplant patients. Standard anti-viral treatments based on nucleotide analogues decreased the occurrence of HCMV reactivation and diseases, but induce side effects and drug-resistant viral strains. In this thesis, we introduced new anti-viral approaches based on the CRISPR/Cas9 gene editing tool. Two strategies are designed to target the UL122/123 gene of HCMV encoding the immediate early proteins, essential for lytic viral replication and reactivation from latency. We validated that the disruption of the UL122/123 gene by the CRISPR/Cas9 system to abrogate viral replication. The multiplex CRISPR/Cas9 system (three gRNA) was much more efficient than the singleplex approach targeting the same gene. Target gene expression, concomitant genome replication and virion release were significantly impaired by the multiplex strategy. A further anti-HCMV CRISPR/Cas9 system was developed specifically to target the HCMV genome during latency. Two gRNAs target the viral genome at three target sites: LUNA, essential for reactivation, and the two homolog TR regions. We verified this duplex strategy on the lytic replicating virus and detected mutations at the target site as well as the reduction of viral genome copy number. In conclusion, the anti-HCMV strategies based on two or three gRNAs efficiently blocked viral replication. This provides the basis for the development of an anti-HCMV CRISPR/Cas9 therapy.

High Dynamic Range (HDR) imaging has the potential to replace traditional Low Dynamic Range (LDR) imaging due to HDR’s capability to accurately capture and reproduce the entire spectrum of visible lighting conditions with full colourimetric precision in any scene. However, this ability comes at the cost of significantly increased storage and transmission requirements compared to traditional LDR imaging. These costs together with additional challenges in capturing and delivering HDR video, for example ghosting artefacts, peak luminance of current HDR displays etc., are currently limiting the faster adoption of HDR imagery and the eventual replacement of traditional LDR imaging and video techniques. This thesis focuses on how to deliver high-fidelity HDR video with minimal storage/transmission requirements. To answer such a multi-faceted question, the thesis first provides an overview of HDR imaging and video pipeline followed by a detailed discussion on existing HDR video compression algorithms and quality assessment (QA) techniques for HDR image and video. This background information provides an in-depth review of the overall progress made to date and also highlights the current outstanding issues. The thesis subsequently assesses end-user preference of HDR video content over LDR video content using a rating- and a ranking-based psychophysical experiment. Results from this assessment suggest that there exists a statistically significant difference between the HDR representation of a scene and its LDR counterparts where given the option, the former is preferred by end-users as HDR provides a more realistic viewing experience. Having established the preference for HDR video, a comprehensive objective and subjective study is undertaken of a number of published/patented HDR video compression algorithms by means of several objective QA metrics and psychophysical studies. This resulted in an in-depth understanding of the advantages and shortcomings of existing solutions. Results obtained demonstrate that non-backward compatible compression algorithms are able to deliver high-fidelity HDR video at significantly lower storage/transmission costs compared to backward compatible algorithms. Also, perceptual QA metrics exhibit a high to very high correlation with subjective video quality assessment. Based on this in-depth understanding of the design requirements and philosophy of HDR video compression algorithms, this thesis proposes and evaluates a novel HDR video compression algorithm. This new algorithm is shown to outperform existing state-of-the-art algorithms both in terms of image reconstruction quality and transmission requirements.