North Georgia College & State University: Digital Commons
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[3] Table Setup
No full textBranding project for Sustitch, a company that provides revamped goods and services to customers.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1085/thumbnail.jp
[1] Coalescence
No full textGrowing up in Georgia, I was completely surrounded by the Appalachian wilderness and submerged myself in it with every minute of free time I had. It was always a place for me to escape the troubles I had and reconnect to a more peaceful mindset. To this day, I still turn to the forest and trees for comfort. This connection I have to nature was forever solidified when my childhood farm, Versanoia Equestrian Farm, was sold for commercial development. I had to watch as the place I called home for so many years was replaced by cookie cutter suburban houses. This event irrevocably changed my perspectives on the impermanence of nature and sparked an intense desire to protect the wilderness left on Earth and to inspire others to want the same. I am driven by this experience to create art that reflects these sentiments as a means of spreading them to a wider audience.
I create work that is about nature, but not with the typical narrative that focuses on humanity’s negative impact on Earth’s environments. Instead, my work exhibits the profundity of imperfection and chance by exploring the visual and conceptual vocabulary of the natural world. I display my work to viewers as a means of visually explaining the parts of nature that bring me feelings of solace and connection. I believe that if I can spark the idea of these feelings in people’s minds, that they would feel inspired to go into nature and experience it for themselves. It is my hopes that if enough people experience the emotional and spiritual value of the forest, then they will also be driven to protect them.
I create these works using my medium of choice, Ceramics. One of my favorite parts about the creative process is working with my hands and getting dirty. I prefer to work with clay because I can get elbow deep in Earthen material and create beautiful things from it. Another reason clay is the way is because, more often than not, my clay makes artistic decisions for me. The clay, colorants and kilns can all have a mind of their own at times, so going with the flow and incorporating happenstance events into my final pieces is all a part of the process. I choose to leave the flaws because I feel that this best reflects the imperfections in nature that I find so comforting. Most importantly, ceramics allows me to build sculptures that are large-scale, and asymmetric. The plasticity of the clay allows my work to take on a lot of weight and height, while still maintaining organic, Wabi-Sabi forms. In addition to this the raw, earthy quality of the clay allows me to emulate textures from the natural world, such as bark, moss, mushrooms, and rocks, onto the surface of my work.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1010/thumbnail.jp
[4] Coalescence
No full textGrowing up in Georgia, I was completely surrounded by the Appalachian wilderness and submerged myself in it with every minute of free time I had. It was always a place for me to escape the troubles I had and reconnect to a more peaceful mindset. To this day, I still turn to the forest and trees for comfort. This connection I have to nature was forever solidified when my childhood farm, Versanoia Equestrian Farm, was sold for commercial development. I had to watch as the place I called home for so many years was replaced by cookie cutter suburban houses. This event irrevocably changed my perspectives on the impermanence of nature and sparked an intense desire to protect the wilderness left on Earth and to inspire others to want the same. I am driven by this experience to create art that reflects these sentiments as a means of spreading them to a wider audience.
I create work that is about nature, but not with the typical narrative that focuses on humanity’s negative impact on Earth’s environments. Instead, my work exhibits the profundity of imperfection and chance by exploring the visual and conceptual vocabulary of the natural world. I display my work to viewers as a means of visually explaining the parts of nature that bring me feelings of solace and connection. I believe that if I can spark the idea of these feelings in people’s minds, that they would feel inspired to go into nature and experience it for themselves. It is my hopes that if enough people experience the emotional and spiritual value of the forest, then they will also be driven to protect them.
I create these works using my medium of choice, Ceramics. One of my favorite parts about the creative process is working with my hands and getting dirty. I prefer to work with clay because I can get elbow deep in Earthen material and create beautiful things from it. Another reason clay is the way is because, more often than not, my clay makes artistic decisions for me. The clay, colorants and kilns can all have a mind of their own at times, so going with the flow and incorporating happenstance events into my final pieces is all a part of the process. I choose to leave the flaws because I feel that this best reflects the imperfections in nature that I find so comforting. Most importantly, ceramics allows me to build sculptures that are large-scale, and asymmetric. The plasticity of the clay allows my work to take on a lot of weight and height, while still maintaining organic, Wabi-Sabi forms. In addition to this the raw, earthy quality of the clay allows me to emulate textures from the natural world, such as bark, moss, mushrooms, and rocks, onto the surface of my work.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1015/thumbnail.jp
[3.5] 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/seniorexhibspring2021/1056/thumbnail.jp
[2.3] 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/seniorexhibspring2021/1039/thumbnail.jp
[2.0] 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/seniorexhibspring2021/1036/thumbnail.jp
[3.2] 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/seniorexhibspring2021/1053/thumbnail.jp
An Ember of the Shining Path: A Content and Text Analysis of the Peru People\u27s Movement\u27s Sol Rojo Magazine
Get PDFFar-left terrorism rocked Latin America during the 1980s and 1990s, making that region the epicenter of global terrorism for fourteen years. Now, nearly three decades after the Shining Path collapsed under the Peruvian Government’s counter-insurgency efforts, remnants of the group continue to operate. While the brutality and carnage for which the Shining Path is known have subsided, factions disseminate propaganda calling for the “People’s War” and revolution. One such faction, the Peruvian People’s Movement, has published the magazine Sol Rojo [Red Sun] at a rate of about two editions since around 1994. This study examines content from the 30 of 49 editions available online through the application of text analysis software. Analysis of this nearly 700,000-word corpus reveals important themes that changed over time based on domestic challenges, geopolitical events, and other factors. Psychometric properties of these texts reflect distinct tones, emotions, and topical groups that evolved over time. Sol Rojo is a remnant of Shining Path and the Maoist ideologies the group spread throughout rural Andean regions decades ago. The magazine’s writers seek influence and relevance in a world where their calls for “People’s War” seem more elusive with the passage of time as their generation of ex-Senderistas fades and a new generation of revolutionaries fails to materialize
1D: Hacking an Air-Gapped Machine: Principles and Practice
No full textIt is a common misconception that computers cannot be hacked unless connected to the internet. This research will analyze different ways a criminal could hack an air-gapped computer. Air-gapped computers could be hacked through light, sounds, vibrations, temperature changes, and by measuring a computer’s power consumption. Light can be measured with a video camera to see the changes in a computer’s LEDs when writing or reading files from the hard drive. Sound can be measured using a decibel meter to listen to changes created with a computer’s fan speed. Vibrations are controlled by typing on a computer and can be measured with an accelerometer. By using a stress-test program and infrared thermometer, temperature changes can be manipulated and measured. Finally, power consumption can be measured using an electricity usage meter and controlled by changing a screen’s brightness or using a stress-test program. This research will also examine previous incidents where air-gapped machines have been hacked. For example, Stuxnet – a computer worm that was created to sabotage the Iranian nuclear centrifuges. Attacks used on air-gapped machines will also be examined, such as AIR-FI. AIR-FI is an attack that will use an air-gapped machine’s RAM and turn it into Wi-Fi to steal data. The goal of this research will be to explain how vulnerable air-gapped machines truly are