North Georgia College & State University: Digital Commons
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The Psychology and Communication of Climate Change Ignorance
Full text linkReview of:
George Marshall, Don\u27t Even Think About It: Why Our Brains Are Wired to Ignore Climate Change. Bloomsbury USA, 2014, 272 pages. ISBN: 978163286102
2K: A Space of Her Own
No full textIn 1929 Virginia Woolf published her classic extended essay A Room of One’s Own which became an important piece of feminist writing throughout history. She exemplifies the constant interruptions women of her time experience which in turn inhibit their processes of creativity and productivity. In her writing she declares “a woman must have money and a room of her own if she is to write fiction.” When Woolf says “a room of her own” it is usually interpreted in a literal sense that a woman needs a physical space to complete her writing. Diving deeper into this statement she could also be using the room as a metaphor of personal space. During this era in history women adhered to many rules regarding what they were allowed to do and where they were allowed to go, a stark comparison to the personal freedoms of men in this same time. Using scholarship regarding women in the progressive era and spatial metaphors, this essay will use the moments Woolf experiences lack of personal space to argue that the room she is referring to is a space that expands well beyond the physical and into a metaphorical realm, suggesting that women need personal freedoms in all aspects of life including the political, social, and educational facets in order to cultivate their own success
04. Visual memories before conscious awareness: How fragile is our Fragile Memory (FM) system?
No full textPrevious research suggests Fragile Memory (FM) has a higher capacity and slower mental degradation rate compared to Working Memory (WM). These memories are retrievable after an attention shift but are erased when a new scene occupies the same physical space with similar stimuli. The purpose of this study is to probe storage capabilities of the FM system using three-dimensional appearing cubes. Each stimulus array consists of four cubes surrounding fixation, with individual cubes varying by orientation (up versus down) and rotation (0° versus 45°). Each trial starts with a center fixation point. Then an initial array (four cubes in a randomized configuration) are presented. This array must be memorized. Fixation then moves away from center to shift participant attention, followed by an interference array consisting of solid color polygons peripheral to the cube array. Participants count the number of colors represented by the polygons, thereby preventing WM from maintaining the initial array. On half of the trials, a line will then cue one of the four locations from the initial array. A final array is shown, and participants indicate whether or not there is a change from the initial array. Half of the trials will have a change from initial to final array, and changes only occur on a single cube. Locations “retro-cued” during the trial should result in noticeable rotational changes due to the robust FM system; however orientation changes and non-cued changes should not be noticed. This is the first study to test FM in this specific way
14. Human disturbance effects on white blood cell profiles of Anaxyrus americanus in northern Georgia
No full textAs human development in the northern Georgia region extends into natural environments, toxins and pollutants from agriculture, construction, and industrial runoff have increased in aquatic and terrestrial ecosystems. These toxins can negatively impact animals by disrupting their individual health and population dynamics. Amphibians, which rely on cutaneous respiration through semi-permeable skin, are especially susceptible to environmental toxins, making them a favorable candidate to study the effects of human development on the health of native fauna. Toxins present in the environment may negatively affect amphibian immune system function and cause stress. Quantifying the neutrophil to lymphocyte (N: L) ratios from blood smears has been shown to correlate with increased stress in vertebrates. We hypothesize that amphibians in an environment with increased human disturbance will have higher N: L than those in less polluted environments. The American toad, Anaxyrus americanus, a species native to the eastern United States, is used in this study due to their common occurrence in the northern Georgia region. Blood samples and morphological measurements will be taken from toads at two different sites: a newly constructed neighborhood (high human disturbance) and an established, forested neighborhood (low human disturbance). Blood smears will be used to determine leukocyte profiles and N: L. Morphological measurements will also be used to assess differences in body condition and health in toads. This study will provide data on amphibian health conditions that can be compared to human disturbance effects in environments
1D: Gold Boom Gone Bust: The History of Auroria, Georgia
No full textIn the 1830s, Lumpkin county, centrally situated on the “gold belt,” experienced the initial American gold boom. Individuals encroached upon traditional Cherokee lands, waving previous territorial agreements in the name of profit. Constructed in response to increased American interest, the impromptu mining town of Auraria followed this trend as it developed around the cache of gold. A raucous intersection of diverse individuals, Auraria focused their disparate pasts around an emotion of unbridled anticipation. Miners and policymakers alike disregarded indigenous claims to the land. Prospects of territorial and mineral wealth motivated federal expansionist policies towards Cherokee lands, resulting in the forced exodus of the Cherokee nation in 1838. Exploration of the Auraria mining town, emblematic of the region, allows further consideration of individual and federal responses towards prospects of financial success, regardless of the humanitarian consequences
[1] Home Is Where The Art Is
No full textThe home is a sacred place, where we feel most comfortable. It’s where we perform our daily rituals, from the mundane tasks to the more complex routines. These moments are times when we pause and reflect. They are the quiet moments that have a surprising ability to ground us. My work compliments these instants. The pieces welcome relaxation and escape. They invite blissful memories of exploring nature with boundless imagination. My pieces bridge the gap of nostalgic memories to the present need for comfort in our own homes.
My decorative functional ware is inspired by nature and science. For most of our time on Earth, humans have been surrounded by wilderness, with shelters made from rocks and trees. The idea that humans are more comfortable with biological elements around us—rather than clean, geometric environments—is known as Biophilia. This concept is the basis for biophilic design. Instead of rejecting nature as if we have no place in it, we should embrace the natural world by modeling our everyday spaces after it.
Like the nature that informs it, my work embodies a balance of precision and fluidity. My process is a symbiosis of planning and coincidence, and I allow new features to come together throughout the process. I strive for my work to embody the simplicity of nature with precision and craftsmanship. I want my work to invoke comfort while being integrated as a regular part of each day. I make functional ware with the hope that my pieces will find homes and form connections with those who use them. When not in use, these items are also meant to decorate a space, because I believe home is where the art is.
Keneddi Horn
April 2021https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1087/thumbnail.jp
[2.5] Finding Your Why
No full textWhen viewing a new piece of artwork, many people attempt to draw their own conclusions, make assumptions, and create a meaning for a piece that they had no hand in making. Yes, individual interpretation is an essential aspect of visual art, but how often do you stop and ask the artist “why?”
Why did you make this piece? What inspired you? Why do you make art? Why are you like this? Who hurt you? Who loved you? What was your favorite color in third grade and why did you name your fish after a Disney princess? Why? Why? Why? Why? Why?
This research project, this documentation, this body of work, this zine is an exploration of the artist’s mind. It is meant to both inform the viewer of the deeper aspects of why an artist makes a piece, series, body, or exhibit and to raise new questions. I want you to question everything. I want you to ask why I did this. I want you to question every single decision you have ever made and then hate me for it because you can’t stop.
My interest in the “why” stems from my constant and insufferable overthinking about my interactions and other people’s interactions. I hyper-analyze, I question everything, and I try to understand people. So, this topic really gives me the opportunity to do that.
Through my research and documentation, I hope to have inspired those presented in my work to question their work and Find the Why in their practice.
All rights associated with the works displayed in this zine remain with their respective creators.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1042/thumbnail.jp
[4.2] Finding Your Why
No full textWhen viewing a new piece of artwork, many people attempt to draw their own conclusions, make assumptions, and create a meaning for a piece that they had no hand in making. Yes, individual interpretation is an essential aspect of visual art, but how often do you stop and ask the artist “why?”
Why did you make this piece? What inspired you? Why do you make art? Why are you like this? Who hurt you? Who loved you? What was your favorite color in third grade and why did you name your fish after a Disney princess? Why? Why? Why? Why? Why?
This research project, this documentation, this body of work, this zine is an exploration of the artist’s mind. It is meant to both inform the viewer of the deeper aspects of why an artist makes a piece, series, body, or exhibit and to raise new questions. I want you to question everything. I want you to ask why I did this. I want you to question every single decision you have ever made and then hate me for it because you can’t stop.
My interest in the “why” stems from my constant and insufferable overthinking about my interactions and other people’s interactions. I hyper-analyze, I question everything, and I try to understand people. So, this topic really gives me the opportunity to do that.
Through my research and documentation, I hope to have inspired those presented in my work to question their work and Find the Why in their practice.
All rights associated with the works displayed in this zine remain with their respective creators.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1063/thumbnail.jp
[4.1] Finding Your Why
No full textWhen viewing a new piece of artwork, many people attempt to draw their own conclusions, make assumptions, and create a meaning for a piece that they had no hand in making. Yes, individual interpretation is an essential aspect of visual art, but how often do you stop and ask the artist “why?”
Why did you make this piece? What inspired you? Why do you make art? Why are you like this? Who hurt you? Who loved you? What was your favorite color in third grade and why did you name your fish after a Disney princess? Why? Why? Why? Why? Why?
This research project, this documentation, this body of work, this zine is an exploration of the artist’s mind. It is meant to both inform the viewer of the deeper aspects of why an artist makes a piece, series, body, or exhibit and to raise new questions. I want you to question everything. I want you to ask why I did this. I want you to question every single decision you have ever made and then hate me for it because you can’t stop.
My interest in the “why” stems from my constant and insufferable overthinking about my interactions and other people’s interactions. I hyper-analyze, I question everything, and I try to understand people. So, this topic really gives me the opportunity to do that.
Through my research and documentation, I hope to have inspired those presented in my work to question their work and Find the Why in their practice.
All rights associated with the works displayed in this zine remain with their respective creators.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1062/thumbnail.jp
Emerge: Go Bigger, They Said
Full text linkGo Bigger, They Said
Sarah Elaine Curtis
Fall 2018, Mixed Media
55 x 38 x 1