MA, Kent State University, 2021, College of Arts and Sciences / Department of Philosophy

Now more than ever, the encroaching significance of the internet and its capacities calls us to question how we relate to ourselves as subjects — this question is necessarily a historical one. The notion of a 'virtual' dimension to our social world reorients all of our preconceived metaphysical notions on which we ground our understanding of history. The modern, neo-liberal view of history that informs the popular imagination offers a teleological model of continued progress — I argue that this is ultimately a troubling narrative and urges us to rearticulate how we think of history in the digital age. In order to take on this endeavor, chapter one explores Georg Wilhelm Friedrich Hegel's dialectics and the “End of History'' primarily through exegetical work. The chapter concludes with an examination of how this model posits a prescriptive teleology that is appropriated by institutions, such as capitalism, to legitimize themselves as the logical progression of history and to justify the violence used to establish their despotism. Chapter two explores Gilles Deleuze and Felix Guattari's own notions of history in response to the Hegelian model, or rather the dominant western, liberal view of history that dialectics has given rise to. They offer a rhizomatic view of history in which independent, but interrelated elements move and converge into a dynamic aggregate of conditions which pose problems or questions that subjects take up and perform. I adopt this view in order to identify the historical condition of the internet as one which challenges us to question what a (techno)virtual world of possibilities means for a subject — Where does my cognition start and my computer end?; What happens to gender in the digital world?; Who can I be in cyberspace? In chapter three, I explore these stated problems through Deleuze and Guattari in tandem with concepts such as the cyborg (Donna Haraway), computational logos as both the limit and extension of reason (Luciana Paris (open full item for complete abstract)

Committee: Gina Zavota (Advisor); Andreea Smaranda Aldea (Committee Member); Michael Byron (Committee Member); Ryan Hediger (Committee Member) Subjects: American Studies; Artificial Intelligence; Communication; Comparative; Comparative Literature; Gender; Gender Studies; History; Mass Media; Metaphysics; Multimedia Communications; Philosophy; Web Studies

Master of Arts, Miami University, 2024, French, Italian, and Classical Studies

This paper written in French examines the concept of duration in cinema through Henri Bergson's and Gilles Deleuze's philosophies of time, focusing on Chris Marker's film, La Jetee (1962). Bergson's concept of true duration challenges conventional temporal divisions, emphasizing a subjective, qualitative experience of time over objective, measurable units. Deleuze's notion of the crystal image further complicates this exploration, suggesting that cinema's unique ability to present multiple temporalities simultaneously transforms our understanding of cinematic time. I argue against cinema's confinement solely to the present tense, proposing instead that cinema involves a complex interplay between viewer time and filmic duration. La Jetee serves as a case study wherein Marker employs photography to interweave past, present, and future, challenging linear narrative conventions and prompting viewers to confront their own temporal experiences. Through the analysis of key sequences using Deleuze's theory and Marker's manipulation of temporal layers, this thesis explores how moments of love and encounters with the Other in La Jetee exemplify an enriched sense of duration. I suggest that cinema, particularly through Marker's lens, not only represents duration but also fosters resonance between individual and collective experiences of time, thereby advancing the philosophical discourse on subjective temporality in art.

Committee: Jonathan Strauss (Committee Chair); Audrey Wasser (Committee Member); Elisabeth Hodges (Committee Member) Subjects: Film Studies; Literature; Philosophy

Doctor of Philosophy, The Ohio State University, 2024, Dance Studies

This dissertation examines the dance studio and its built environment, exploring the dynamic relationship between dance and space. The focal point is the concept of the dance studio, analyzed through the urban landscapes and the experimental art practices in the city of Zagreb from the 1950s to the 2010s. The study investigates the dance studio through the histories of spatial structures, dance history, and the history of cinema. Shaped by these processes, dance is specifically entangled with spatial structures and is expanded by their horizons, outcomes, and histories. The dance studio here is a hypothesis built in the process—a space that exists at the intersection of context and time, with dance emerging as an archival record embedded in spatial and societal change. The dissertation argues that this very process constitutes the dance studio's structure: a space, practice, and environment made possible—reimagined, shaped, and hypothesized through the lens of dance and its experimental inquiry. The study approaches the dance studio from the vantage point of the long contemporaneity, extending across both modernism and postmodernism while facilitating the juxtaposition and productive friction of these terms. The city of Zagreb is approached as a dynamic multitude, encompassing a range of developments in the socialist and post-socialist periods that influenced, challenged, and shaped art, dance artists, and their spaces between 1949 and 2010.

Committee: Harmony Bench (Committee Chair); Hannah Kosstrin (Committee Member); Philip Armstrong (Committee Member) Subjects: Architecture; Art History; Dance; East European Studies; European History; European Studies; Film Studies; Modern History; Performing Arts; Philosophy; Slavic Studies; Theater Studies

Master of Fine Arts, The Ohio State University, 2023, English

FUTUREHAUNT is a collection of poetry exploring existence in the Anthropocene. The poems within FUTUREHAUNT explore the author's experiences with mixed identity & queerness in the Catholic church alongside self-harm and other traumas through the lens of rapid technological acceleration within capitalism. The poems play with tradition through deconstruction of classic forms with a focus on the American sonnet. FUTUREHAUNT as a title is in reference to Mark Fisher's work on hauntology. FUTUREHAUNT as a collection applies Mark Fisher's theory on capitalist realism & hauntology to Anthropocene aesthetics, and queer studies through exploration of the author's personal experience and theoretical background. FUTUREHAUNT as a collection utilizes the recurring subject of suicide as a mode of relation to the theme of hauntology.

Committee: Kathy Fagan (Committee Member); Marcus Jackson (Advisor) Subjects: Literature; Mental Health; Philosophy

Doctor of Philosophy, The Ohio State University, 2022, Art Education

The purpose of this study is to realize learning and art making is an openness of possibilities without predetermined ends. The objective of pursuing an openness is in response to traditional learning as centered on a permanent limited subject. An alternative openness to learning is guided by the question: “can learning be made through affective bodily sensations of distraction?” From a process of affective practices in art education, including performance art, philosopher Gilles Deleuze's theory of affect is used for a different kind of thinking. A research strategy of thinking without learning is defined and demonstrated through performance art practices and bodily knowledge as alternative understandings of thinking. The findings point to a different kind of non-rational thinking as the underlying flow of life. In addition, the findings conclude how art from sensations are affective change to resist ideas of permanency.

Committee: Jack Richardson (Advisor) Subjects: Art Education

Doctor of Philosophy, The Ohio State University, 2022, French and Italian

Literature from the French-speaking Caribbean is renowned for the heterogeneity in language writers use to question the relationship between the oral tradition and writing, the stories of the people in the face of official chronicles of the region, and the place of writing in relationship with other cultural discourses. In this dissertation, I radically question what type of heterogeneity in language the writer utilizes to problematize these varying questions. Authors from the region have been popularly praised for the linguistic heterogeneity or opposition between the 'higher' French and 'lower' Creole languages. But literary critics have also remarked other forms of heterogeneity in language in French Caribbean literature: the plurality and diversity of points of view certain writers employ; the multiple and irreducible voices some make heard; the heterogenous discourses different writers bring into 'dialogue'; as well as often overshadowed topics such as the relations between sexes or what the male-dominated, post-colonial ‘counter-narratives' leave unseen and unheard. In the individual chapters of this dissertation, I've selected four novels which exemplify or embody four different types of heterogeneity in language. Patrick Chamoiseau's award-winning novel has been touted as a 'polyphonic' novel of a collective voice. Utilizing linguistic polyphony, I examine Texaco in terms of the kinds of relations between heterogeneous 'voices' as well as how each is constructed. I demonstrate that the 'collective' voice is globally hierarchical and each so-called voice is reducible to a transparent point of view. Edouard Glissant's both severely criticized and vociferously celebrated novel has also been considered a novel of the collectivity. In the second chapter of the dissertation, I draw on research from the margins of the paradigmatic model of polyphony in linguistics to study both the relations and the constructions of particular voices in Mahagony. I find that hi (open full item for complete abstract)

Committee: Jennifer Willging (Committee Chair); Benjamin Hoffmann (Committee Member); Patrick Bray (Advisor) Subjects: Caribbean Literature; Caribbean Studies; Linguistics

PhD, University of Cincinnati, 2018, Design, Architecture, Art and Planning: Architecture

In his book Difference and Repetition, the French philosopher Gilles Deleuze distinguishes between two theories of repetition, one associated with the `Platonic' theory and the other with the `Nietzschean' theory. Repetition in the `Platonic' theory, via the criterion of accuracy, can be identified as a repetition of homogeneity, using pre-established similitude or identity to repeat the Same, while repetition in the `Nietzschean' theory, via the criterion of authenticity, is aligned with the virtual rather than real, producing simulacra or phantasms as a repetition of heterogeneity. It is argued in this dissertation that the distinction that Deleuze forms between modes of repetition has a vital role in his innovative approaches to the Nietzschean's notion of `eternal return' as a differential ontology, offering numerous insights into work on issues of homogeneity and heterogeneity in a design process. Deleuze challenges the assumed capture within a conventional perspective by using German philosopher Friedrich Nietzsche's conception of the `eternal return.' This dissertation aims to question the conventional praxis of architecture and urban design formalisms through the impulse of `becoming' and `non- representational' thinking of Deleuze. The research attempts to conceptualize the relationship between history and the occurrence of new social contexts and to locate varying forms of active and temporal engagements with the material formations of cultural environments and historical sites. This dissertation explores the possibility of using history as a dynamic, intensive force in an architectural and urban design thinking process as a mean to escape the historicism and representational image functionary towards a re-engineered creative historical/architectural dialogue. The dissertation will conceptually analyze the difference between mimicking historical styles in a decontextualized manner and repeating them with difference using the theory of Difference and Repe (open full item for complete abstract)

Committee: Adrian Parr Ph.D. M.A. (Committee Chair); Laura Jenkins Ph.D. (Committee Member); Patrick Snadon Ph.D. (Committee Member) Subjects: Architecture

Master of Arts, Miami University, 2018, French, Italian, and Classical Studies

This thesis, written in English, offers a comparative analysis of communal trauma in the Post-Plantation fiction of Maryse Conde's Traversee de la Mangrove and William Faulkner's Light in August. More specifically, this piece of scholarship examines how traumas of absence, defined as those resulting from a missing experience rather than a lived one, construct communities through the acknowledgement of shared pain. By rejecting traditional narrative techniques, both authors tell the story of their fictional communities via what we call a communal recit, the totality of individual narratives collectively informing the reader's understanding of the particular community. In reading these individual recits alongside each other, the reader engages in a process we call Relational reading, which taking inspiration from Edouard Glissant's Poetics of Relation, is a method of identifying shared experiences within a literary work. This reading practice is made possible through Deleuze and Guattari's analysis of the rhizome and its advantages as a narrative device. For the reader, this style of narration yields topologies of the represented communities' thinking, thereby exposing how characters come to see themselves in relation to one another. Finally, this work considers literature's role as a functional monument to that which cannot be easily depicted.

Committee: Jonathan Strauss PhD (Advisor); Audrey Wasser PhD (Committee Member); Erin Edwards PhD (Committee Member) Subjects: American Literature; Caribbean Literature; Caribbean Studies; Comparative Literature; Literature

Master of Arts (MA), Ohio University, 2018, Film Studies (Fine Arts)

"The Cartoon Effect" examines comedically violent performances of the animated cartoon placed specifically on cartoon children. The thesis looks at cartoon violence in the post-government regulation era of cable network television (1990-) in order to interrogate the cartoon's relationship to children, violence, and control through the lens of biopower and affect. In my argument, I assert that the cartoon is an affect understood and read through violence, not comedy. In the late-capitalist 21st century, the modulations of power manifest as violences of resistance and control.

Committee: Ofer Eliaz (Committee Chair); Katheryn Raney (Committee Member); Louis Georges-Schwartz (Committee Member) Subjects: Film Studies; Mass Media

Master of Arts, Miami University, 2017, French, Italian, and Classical Studies

This thesis, written in English, proposes an ethico-affective theory of the sound event in film in an effort to rethink the relationship of film and spectator in terms of listening. The movements of the argument progress through an analysis of a two-minute scream from Maiwenn's 2011 film, Polisse, that works to demonstrate the ways in which resonances in theoretical language on film, sound, affect and music, specifically as they relate to the interstice from Gilles Deleuze's Cinema 2: the Time-Image, help us to think of the spectator in terms of her active participation in film's material. This step away from cinematographic analysis forces us to scrutinize the methods through which film directly affects the senses of its spectators in ways that confound their ability to "read" the image. As such affections, as Baruch Spinoza suggests, influence how the spectator perceives her own capacity to act in the world, this thesis concludes that listening for sound events in film allows us to perceive the ethical dimensions of film and spectatorship.

Committee: Elisabeth Hodges (Advisor); Jonathan Strauss (Committee Member); Mack Hagood (Committee Member) Subjects: Ethics; Film Studies; Mass Media; Motion Pictures; Music

Doctor of Philosophy, The Ohio State University, 2017, Arts Administration, Education and Policy

This document has been (for me, writing) and is (for you, reading) a journey. It started with a passing remark in Gilles Deleuze's 1981 book Francis Bacon: The Logic of Sensation. That remark concerned the cliche. The psychic cliches within us all. The greatest accomplishment of the mind is thinking, which according to Deleuze means clawing through and beyond the cliche. But how? I found in my research that higher education art schools (like the higher education English departments in which I had for years taught) claim to teach thinking, sometimes written as “critical thinking,” in addition to all the necessary skills of artmaking. For this dissertation, I set off on a journey to understand what thinking is, finding that Deleuze's study of the dogmatic image of thought and its challenger, the new image of thought—a study he calls noo-ology—to be quite useful in understanding the history of the cliche and originality, and for understanding a problematic within the part of art education that purports to use Deleuzian concepts toward original thinking/artmaking. This document is both about original contributions to any field and is my original contribution to the field. A critique and a proposal.

Committee: JACK RICHARDSON (Advisor); JENNIFER RICHARDSON (Committee Member); SYDNEY WALKER (Committee Member) Subjects: Art Criticism; Art Education; Art History; Education; Education Philosophy; Film Studies; Fine Arts; Literature; Philosophy; Teaching

MARCH, University of Cincinnati, 2017, Design, Architecture, Art and Planning: Architecture

Interpreting architecture through a machinic lens reveals its capacity for opening new frames of reference from our existing environment – constructing conceptions of place, culture and identity out of empty space. Within this framework, architecture ceases to simply be a product of actions and desires but instead is regarded as an active contributor to our understanding of our surroundings and ultimately ourselves. The architectural and mechanical elements presented in this thesis, set forth new forms of engagement between disparate bodies and ideas. Through this process, entire histories are disassembled and reassembled, to reveal their inner workings and construct new assemblages of thought and space. This thesis utilizes Levi-Strauss' bricolage concepts alongside Deleuze and Guattari's assemblage theory to create a unified methodological lens, capable of evaluating and constructing our prior understanding of history and our relationships to it. Ultimately, these frameworks expand to create a comprehensive concept effective in the use of architectural design. This project addresses the American West as both site and idea. Employing a design process imbued with the methodology of bricolage reveals the engrained heterogeneous composition of a space steeped in national myth, but continually in flux. In order to explicate the multidimensionality of the West this project utilizes the design of three individual, autonomous machines and a central “hive” structure, which functions as a depository for the information collected by these creations. Methodologically, these machines and architecture are designed through a process of bricolage, but more specifically kitbashing, which is a practice whereby commercial model components are altered and combined to create new formations, disassociated from their original intent. This process highlights the potential for designing with “whatever is at hand,” and making do the available material or instruments. The architecture prese (open full item for complete abstract)

Committee: Aarati Kanekar Ph.D. (Committee Chair); Elizabeth Riorden M.Arch. (Committee Member) Subjects: Architecture

MARCH, University of Cincinnati, 2016, Design, Architecture, Art and Planning: Architecture

In pursuing a time-image, a series of thoughts were considered that together comprise the journey documented here. On the outset it was stated that conventional architectural representation is essentially “… A logical reduction of architectural thought to what can be shown, at the exclusion of other concerns.” Bernard Tschumi. Time is a concern that is almost always excluded from architectural drawings, which in effect excludes it from architectural thought. Gilles Deleuze's concept of the time-image, however, is essentially an image infused with time; meaning it is not just of the present but linked to a dream or memory. According to Deleuze we deal with time-images all the time. An example of this would be when one happens upon a cup, the mind automatically relates it memories of other cups to help define if it is a cup or not. The concept of cup is a time-image, but further still our realities are in part based on our own time-images that we have created.

Committee: Vincent Sansalone M.Arch. (Committee Chair); Udo Greinacher M.Arch. (Committee Member) Subjects: Architecture; Theater

MARCH, University of Cincinnati, 2016, Design, Architecture, Art and Planning: Architecture

Our current ideology involving architecture is one of stasis. However, the way we perceive and experience the environment that surrounds us is through movement and rhythm by the means of our bodies and vision. Architecture should, in fact, reflect this dynamic world that we are subjected to daily. The complexities inherent in an architecture can be made prominent, or simply visible, if we depart from the static, urbanistic way of thinking and symbolize or somehow evoke the continuity of change or motion that currently represents our society today. Through a diagrammatic and alternative approach, the re-articulation and re-definition of our perception of architecture can develop new ways of viewing the relationship of architecture to environment and building to site. The singular gesture of folding—both literal and philosophical—can achieve great complexity and has the ability to unearth unforeseen relationships, formal opportunities, and questions directed towards the practice of architecture itself.

Committee: Vincent Sansalone M.Arch. (Committee Chair); Udo Greinacher M.Arch. (Committee Member) Subjects: Architecture

Master of Arts (MA), Ohio University, 2015, Film (Fine Arts)

This thesis articulates the distinct ways in which American cinema in late capitalism figures a plane of immanence in which space governs movement and dominates time. In doing so, my thesis implies a cinematic regime that differs from Gilles Deleuze's two cinematic regimes of the movement-image and time-image. However, this body of work strives to be more than a simple extrapolation off of Deleuze's well-known cinematic periods. Throughout this project I consciously venture away from the Deleuzian philosophy by diving into the distinct modes of production that constitute late capitalism, and delineating the ways in which this contemporary phase of globalization restructures uneven development into sectoral uneven development, a phenomenon that changes the ways in which bodies experience space and time on the plane of immanence. Thus my methodology throughout this thesis evolves and opens up a gap between Deleuze's vitalism and historical materialism. In the final chapter I attempt to close this gap by inserting Henri Lefebvre's spatial trialectic onto the plane of immanence. The contradictions between time and space that Lefebvre exposes with his spatial trialectic are inherent to the spatial plane of immanence of American cinema in late capitalism.

Committee: Louis-Georges Schwartz (Committee Chair); Ofer Eliaz (Committee Member); Marina Peterson (Committee Member) Subjects: Film Studies

Doctor of Philosophy (PhD), Ohio University, 2015, Interdisciplinary Arts (Fine Arts)

In 1896, early cinema technology made it possible for the first time to view a simulation of entropy's reversal – that is, to watch time run backwards. This technique of temporal inversion, now known as reverse motion, straddles both the aesthetic and the scientific aspects of cinema's identity. Aesthetic, because early filmmakers instantly recognized reverse motion's potential to transform cinema into a space of the fantastic and the spectacular – the cinematic redefinition of reality. Scientific, because reverse motion allowed a greater understanding of thermodynamics and time's arrow through its indexical registration of physical processes within sections of duration – the cinematic revelation of reality. Reverse motion's upending of causality resolutely resists classical narrativity and opens a plethora of possibilities for the cinematic exploration of time and motion. In this project, I explore the use of reverse motion throughout film history, examining the aesthetic and philosophical consequences of introducing time as a plastic material into the arts. By analyzing a range of motion picture media from the full history of cinema, I unlock new insights into the origins of the time-image, the hegemony and limits of narrativity, the nature of comedy, and even reverse motion's capacity to deepen our understanding of history by laying bare the forces of its production and uncovering absences produced by forward time.

Committee: Michael Gillespie PhD (Committee Chair); Charles Buchanan PhD (Committee Member); Ofer Eliaz PhD (Committee Member); Vladimir Marchenkov PhD (Committee Member) Subjects: Aesthetics; Film Studies; Motion Pictures

Doctor of Philosophy, The Ohio State University, 2015, Art Education

This research employs American freeform role-playing games as a media for participatory arts-based inquiry into the relationships and perspectives of professional and pre-service art educators. The role-played performances and participatory discourse re-imagine relationships within a collaboratively imagined educational community that parallel ones from the professional lives of art educators, such as those between school administrators, staff, teachers, students, and parents. Participants use the roles, relationships, and settings they construct to explore themes and situations that they identify as being present in educational communities. These situations represent points of intersection between members of an educational community, such as parent-teacher conferences, community advocacy meetings, or school field trips. The data from each experience takes the form of personal reflections, participant-created artifacts, and communal discourse. By assuming various roles and reflecting upon them, participants gain access to experiences and points of view that provoke reflection, develop leadership capabilities, and enhance their capacity for affecting change within an educational setting.

Committee: Christine Ballengee-Morris Ph.D. (Advisor); Funk Clayton Ed.D. (Committee Member); Hutzel Karen Ph.D. (Committee Member); Richardson Jennifer Ph.D. (Committee Member); Walker Sydney Ph.D. (Committee Member); Bartlett Christopher Ph.D. (Committee Member) Subjects: Art Education

BA, Oberlin College, 2015, Comparative Literature

Ancient Greek philosopher Heraclitus, known for his theory of "constant flux," may be one of the most misunderstood and misquoted thinkers of Western philosophy. The way that the protagonist of Julio Cortazar's Rayuela misreads Heraclitus serves as one example of this phenomenon wherein poorly-conceived postmodern inquiries that seek to weaken the idea of a Truth lead to a nihilistic apathy. Horacio Oliveira misunderstands Heraclitus' doctrine of constant flux and uses this misreading to “logically” justify his sexist and elitist behavior towards others. This phenomenon crops up again in Samuel Beckett's absurdist play Fin de Partie through Hamm, a patriarch that no longer sees any point in trying because the world as he knows it is disintegrating. We can use Heraclitus as a central theoretical point for parsing through what exactly goes wrong with the ethical decisions of these characters. Carole Maso's AVA serves as a counterexample to Rayuela and Fin de Partie, for the novel revolves around similar theoretical questions but provides us with a more properly “Heraclitean” approach for how to confront a world without fixed meaning. Studying these failures and successes supply us with examples of how Postmodern thought can be used for harm or for good. A Heraclitean reading of these texts shows us how, properly understood, Postmodernism moves not only towards deconstructing structuralized systems of violence and marginalization, but also towards building something out of the rubble.

Committee: Claire Solomon (Advisor); Jed Deppman (Committee Chair); Benjamin Lee (Committee Member) Subjects: American Literature; Ancient Languages; Classical Studies; Comparative; Comparative Literature; Epistemology; Ethics; European Studies; Gender Studies; Latin American Literature; Latin American Studies; Literature; Metaphysics; Modern Literature; Philosophy; Womens Studies

Bachelor of Fine Arts (BFA), Ohio University, 2015, Studio Art

In three movements, this paper analyzes the way in which apparatuses of capture and control govern our lives. In the first movement, environmental injustice is used to illustrate how apparatuses create, maintain, and destroy spaces and bodies, and allow or prevent certain bodies to speak. In the second movement, anecdotal theory is presented as a way in which bodies typically barred from modes of discourse can find a temporary platform from which to speak. In the third movement, the paper dissolves into poetics upon realization of its own containment within the apparatus of academia, and points towards a way in which all apparatuses could be overcome. Includes documentation from the art exhibition: Wastelands, Revolutions, Failures.

Committee: Katarzyna Marciniak Dr. (Advisor) Subjects: Environmental Justice; Linguistics; Philosophy; Political Science

Doctor of Philosophy, The Ohio State University, 2015, History of Art

At first glance the ancient world may seem an odd place to study concepts of virtuality, but I believe that looking at the art and architecture of the ancient Romans through the modern lens of the virtual can provide surprising insights into how these spaces were viewed, experienced, and understood by their ancient users and may elucidate a further factor in the development of Roman painting beyond mere changes in aesthetic taste. Using a reexamined definition of the “virtual” that divorces it from a reliance on the digital and modern technology, I will investigate how ancient spaces were used to create environments that were intended to transport the viewer to another often distant or fantastic place, to a virtual “elsewhere.” In explaining how these Roman spaces worked to effect such “transportation” through their architectural forms and decorative schemata, I have had recourse to two primary theoretical frameworks. The first is the burgeoning sub-field of cognitive linguistics known as Text-world Theory, which attempts to provide an understanding of how humans universally process discourse through the creation of mental “worlds” into which they project themselves, a projection which I believe forms the basis of virtual experience. The second is the work of French philosopher Gilles Deleuze, in particular his discussion of framing in his first book on cinema, and his idea of the hors-champ or the out-of-field, that which is outside of any bounding frame. For Deleuze, as a set of elements becomes ever more bounded and closed the out-of-field can imbue a it with a certain metaphysical duration, with what he terms a fourth dimension of “time” and a fifth of “spirit.” Thus a (nearly) closed set acquires a certain trans-spatial existence. My dissertation research suggests that the architecture and decorative programs of many Roman houses created just such not-quite-closed sets, and that as a result they appealed to the viewer's “spirit,” engaging him in (open full item for complete abstract)

Committee: Mark Fullerton (Advisor); Timothy McNiven (Committee Member); Kristina Paulsen (Committee Member) Subjects: Archaeology; Art History; Classical Studies; Linguistics