Expanding Eco-Visualization: Sculpting Corn Production

This dissertation expands upon the definition of eco-visualization artwork. EV was originally defined in 2006 by Tiffany Holmes as a way to display the real time consumption statistics of key environmental resources for the goal of promoting ecological literacy. I assert that the final forms of EV artworks are not necessarily dependent on technology, and can differ in terms of media used, in that they can be sculptural, video-based, or static two-dimensional forms that communicate interpreted environmental information. There are two main categories of EV: one that is predominantly screen-based and another that employs a variety of modes of representation to visualize environmental information. EVs are political acts, situated in a charged climate of rising awareness, operating within the context of environmentalism and sustainability. I discuss a variety of EV works within the frame of ecopsychology, including EcoArtTech’s Eclipse and Keith Deverell’s Building Run; Andrea Polli’s Cloud Car and Particle Falls; Nathalie Miebach’s series, The Sandy Rides; and Natalie Jeremijenko’s Mussel Choir. The range of EV works provided models for my creative project, Sculpting Corn Production, and a foundation from which I developed a creative methodology. Working to defeat my experience of solastalgia, Sculpting Corn Production is a series of discrete paper sculptures focusing on American industrial corn farming. This EV also functions as a way for me to understand our devastated monoculture landscapes and the politics, economics, and related areas of ecology of our food production

Children\u27s drawing and telling of sustainability in the home

This paper describes a pilot study about children’s perspective on environmental sustainability in the home through the drawing-telling technique. We utilize the drawing-telling technique as described by Susan Wright [6] for interviewing children about issues related to sustainability. The participants (children from age 10 to 13) were asked to draw two houses (current and ideal) and then describe their drawings in terms of sustainable actions and features. This pilot study is an initial step to investigate if there are opportunities to develop eco-visualizations (EVs) with children in mind and shows that the drawing-telling technique is useful in researching sustainability and children

Beyond Friending: BuddyPress and the Social, Networked, Open-Source Classroom

Classrooms have always been networks, of a sort, with professors and students forming an interlaced series of nodes that take shape over the course of a semester, but tools like BuddyPress and WordPress can make those networks more open, more porous, and more varied. In very useful ways, the classroom-as-social-network can help create engaging spaces for learning in which students are more connected to one another, to their professors, and to the wider world

Diversity Speakers Series: Unconscious Bias in Academic Medicine

Program for Unconscious Bias in Academic Medicine by Wayne A.U. Frederick, MD, MBA: Interim President, Howard Universityhttps://digitalcommons.pcom.edu/diversity_inclusion/1008/thumbnail.jp

Crooked Data: (Mis)Information in Contemporary Art

The University of Richmond Museums exhibited Crooked Data: (Mis)Information in Contemporary Art on February 9 through May 5, 2017, in the Joel and Lila Harnett Museum of Art. The exhibition features art by twenty-one contemporary artists and studios who work with data in nontraditional ways. Some artists incorporate data from known sources, using it as an aesthetic device divorced from its originally intended interpretive function. Others gather and manifest data that might normally be considered not worthy of collecting. And some of the works explore alternatives to standard data visualization forms and practices.Some of the works featured in Crooked Data include a selection from R. Luke DeBois’ series A More Perfect Union, in which the artist presents maps of states, replacing the names of cities and towns with the most frequently used words from residents’ online dating profiles that are unique to that region. For example, in the map of Virginia, the city of Richmond and local towns are represented by the words “tobacco,” “reasonable,” and northern Virginia, not surprisingly, is denoted by the words “Pentagon,” “diplomat,” and “beltway.” Other works in the exhibition include Blast Theory’s app Karen which features a pseudo life coach who provides personalized personality profiles based on user input. Nathalie Miebach translates science data into sculpture, installation, and musical scores. In the series Wars and Conflicts, Dan Mills uses vintage maps as a space to investigate global data on international tensions, conflicts, and refugee statistics. Clement Valla reproduces Google Earth images that reveal anomalies within the system, images that are correctly formed with the data used by the software but are incorrect in accurately depicting their subjects. Artists included in the exhibition: William Anastasi (American, born 1933) Blast Theory (British Artists group) David Bowen (American, born 1975) Martin Brief (American, born 1966) Stephen Cartwright (American, born 1972) Jax de León (American, born 1986) R. Luke DuBois (American, born 1970) Hasan Elahi (American, born in Bangladesh, 1972) Laurie Frick (American, born 1955) Chad Hagen (American, born 1970) Holly Hanessian (American, born 1958) Tiffany Holmes (American, born 1968) Brooke Inman (American, born 1983) Nathalie Miebach (American, born 1972) Dan Mills (American, born 1956) Casey Reas (American, born 1972) Ward Shelley (American, born 1950) Sosolimited (American design studio) Stamen Design (American data visualization practice) Clement Valla (American, born 1979) Lee Walton (American, born 1974) The exhibition included an artwork created by University of Richmond students enrolled in the fall 2016 Introduction to Printmaking class, taught by Brooke Inman, Adjunct Professor, Department of Art and Art History, University of Richmond. Their screen-printed mural consists of data derived from usage statistics from the University’s Weinstein Center for Recreation and Wellness. Digital America, an online journal on digital culture and art, will be featured three art works in conjunction with the Crooked Data exhibition on its website (www.digitalamerica.org). Each piece in the online gallery explores the deceptive nature of digital data through various digital media. Digital America is supported by the Department of Art and Art History at the University of Richmond. Organized by the University of Richmond Museums, the exhibition is curated by N. Elizabeth Schlatter, Deputy Director and Curator of Exhibitions, University Museums. It is presented in cooperation with the University’s Departments of Art and Art History, Geography and the Environment, Boatwright Memorial Library, the Digital Scholarship Lab, Recreation and Wellness, and Partners in the Arts. The exhibition and programs are made possible in part by the University’s Cultural Affairs Committee, Data Blueprint, and funds from the Louis S. Booth Arts Fund. The exhibition is accompanied by an online catalogue featuring works in the exhibition and interviews conducted by Elizabeth Schlatter and Lindsay Hamm, ’17, art conservation (interdisciplinary studies) major, University of Richmond.https://scholarship.richmond.edu/exhibition-catalogs/1005/thumbnail.jp

Profile, Spring 2012

Interactive Arts and Media Department Newsletter. 24 pages. Includes student, faculty, and alumni profiles, game reviews, departmental news, student community project updates, and a photo essay.https://digitalcommons.colum.edu/profile/1008/thumbnail.jp

Profile, Spring 2007

Interactive Arts and Media Department Newsletter. 12 pages. Includes departmental calendar, community updates, game reviews and articles, faculty, student, and alumni profiles.https://digitalcommons.colum.edu/profile/1000/thumbnail.jp