VIRTUAL FARMER: CONTROLLING PHYTOCHROME SIGNALING IN PLANTS THROUGH CYBER-PHYSICAL SYSTEM

Under external environment stimuli seedlings undergo variation of morphology and alterations in its genetic sequences. Phytochrome signaling i.e., feedback reaction of plants to photons and other nutrient cycle plays a crucial role in its maturation. In this research work we create a cyber physical system to control such morphogenesis of plants through the help of artificial intelligence framework which identifies and control the crucial feedback between plant's genetic transcription with respect to the external stimuli such as nutrients, electricity, magnetism. This leads to autonomously grow a plant without its disadvantageous traits by destabilizing its negatively acting transcriptional regulators and enhance the plant's advantageous features by controlling its positively acting transcriptional regulators. This has leaded us to control the plant metabolism, plant growth without soil, manipulate the immunity of plant against disease, develop a plant metabolic profile and maximizes its yield deprived off from its seasonal attribute.Â

Strategies of visualisation: State-corporate-military power and post-photographic interventions

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 visualisatio