Science and religion are systems that work to organize experience into a manageable understanding of the world. Both of these systems gather information - one through mental/spiritual experience and the other through empirical/physical evidence - and then reorder it within a structured framework. They both work under the premise that truth is both existent and attainable within the context of their system. This separation is viewed as necessary in the knowledge/experience-gathering process, but when that knowledge is accumulated, neither science nor religion has the ability to access or communicate truth in its entirety. Plainly speaking, truth is vast and knowledge is limited. I am especially interested in the limitations of knowledge. These limitations (and their occasional transcendence) are what I seek to explore with my work. W. B. Yeats once said, "Man can embody truth, but he cannot know it." I believe that art has the ability to meld the physical and the spiritual into an unquantifiable object. It melts duality. This makes it an ideal medium in which to explore the relationship between religious (spiritual) and scientific (empirical) learning, while using their methods to make objects embodying knowledge. In my work I visually explore the limits of knowledge and make attempts at understanding through the processes of information-gathering and transformation through ritual.

What We Hide is a collection of memoir essays that explores the themes of mystery and deception in personal relationships, specifically within familial and romantic ones. Though the essays in the collection explore the decades from early in the narrator's childhood through her move to Florida for graduate school, the narrator's keen discernment of the world around her and her curiosity for what experiences shape a person's character remain constant. Many essays explore the extent of her father's alcoholism and the consequences of it, as well as the narrator's obsession over the possible sources of his addictions. Other essays examine the narrator's relationships with men beginning when she enters high school and question the extent to which her strained relationship with her father both excuses and/or explains the way she deceives and allows herself to be deceived in these relationships. What We Hide is endlessly implicating and looks for the accountability of these situations from all sources. The narrator delves into the sneakiness of her parents' courtship, the accusations that become commonplace during their divorce, the ways in which the narrator lies to family, friends, and boyfriends for her own selfish motives, and how each of these experiences shapes subsequent ones. What We Hide uses personal experience, emails, and newspaper articles to demonstrate the vulnerability, contradictions, and complications that are inherent in all of us as humans and how these weaknesses manifest themselves in the relationships with those we are closest with.

This is the collection of a novel, Cuban Jam Sessions in Miniature: A Novel in Tracks, and an embedded short story, "Shred Me Like the Cheese You Use to Make Buñuelos." The novel tells the story of Palomino Mondragón, a Colombian mercenary who has arrived in New York after losing his leg to a mortar in Korea. Reclusive, obsessive and passionate, Palomino has reinvented himself as a mambo musician and has fallen in love with Etiwanda, a dancer at the nightclub in which he plays—but he cannot bring himself to declare his love to her. His life changes when he is deported from the United States at the height of the Cuban Missile crisis without having declared his love. Through the thirty years chronicled in the novel, Palomino does all possible in his quest to return to the United States to find Etiwanda despite the fact that he knows she has grown to be a fantasy, an obsession of his imagination. Palomino’s quest takes him to the United States and back three times, as he becomes more and more desperate, as he becomes involved with drug traffickers and for-hire murderers like Polo Norte, as he loses track of what it means to feel alive. Palomino is trapped in a tug-of-war between his rational desire for a normal existence and his irrational but inescapable longing for Etiwanda. In the end, his desperation to get to Etiwanda brings the underworld of Polo Norte to her doorstep. "Shred Me Like the Cheese You Use to Make Buñuelos" tells the story of Polo Norte, Palomino’s antagonist, on his last day on earth, as he is followed by a writer who has agreed to watch him commit suicide. Together, the stories explore the history and nature of the Colombian Diaspora in the United States, and the violent circumstances surrounding the relationship between both countries and the migrants stuck in the middle of it.

I performed the role of Brick Pollitt at Lake Mirror Theatre in Lakeland, Florida from April 20- April 30 2006. The role of Brick Pollitt provided me with several acting challenges as well as multiple subjects to research. The most challenging aspects of portraying the character of Brick Pollitt are his alcoholism, issues of sexuality, and tormented familial relationships. Brick Pollitt journeys in the period of one day through major challenges in two key relationships. He moves from dominance in his relationship with Maggie to capitulation and from isolation in his relationship with Big Daddy to mutual understanding. Brick's relationships are further complicated by questions surrounding his recently deceased best friend Skipper and drives (alcoholism) that may be perceived as self destructive. My preliminary work has led me to believe Brick is in search of peace ('the click') in a tormented life (Williams, Cat 2.47). The nature of the torment needs further research for definition. Some critics argue Brick's sexuality is ambivalent, and he is repressing homosexual drives. Equally possible is arguing the homosexuality was restricted to Skipper. Making a decision about the definition of this relationship is key to making choices within the play because the friendship was so important to Brick's perception of himself. Brick believed his relationship was the "one true and pure thing" in a life filled with "mendacity" (Williams, Cat 2.50). 'Mendacity' is Bricks reference to his disgust with "lyin' an' liars' (Williams, Cat 2.50-51). He is lost without this anchor for his life and it has impacted his ability to interact with the world around him. Determining Brick's sexuality in my portrayal will be central to my process while I also embrace research into related areas of behavior. To supplement my research of alcoholism and Brick's sexuality, the following topics: -A Psycho-Analytical study of the character Brick Pollitt and his "archetypal" relationships with Maggie, Big Daddy, Skipper, Gooper, and his place in society. -The evolution of the character Brick Pollitt through various scripts and screenplays. From Williams's first script through to dealing with the Hays Code. A study of Tennessee Williams life history and the influence on the play. -The history of Cat on a Hot Tin Roof from its Morosco Theatre Broadway debut in New York City on March 24, 1955, followed by its film release in 1955 starring Paul Newman, Burl Ives, and Elizabeth Taylor. Any successful portrayal of Brick Pollitt in Cat on a Hot Tin Roof demands intense focus to individual relationships within the ensemble. The central theme of the play is 'mendacity' (deceit) (Williams, Cat 2.50). Brick uses this word to describe his disgust, but the 'mendacity' of his human relations in the aging and decaying Southern society is what troubles him (Williams, Cat 2.50). Discovering the ties between family, 'mendacity', and society are relevant to the execution of the play (Williams, Cat 2.50). I believe depiction of Brick Pollitt in this Pulitzer Prize winning American Classic will best present my abilities achieved in the Master of Fine Arts Program

In Sudan, 110 babies are abandoned in the streets of Khartoum every month. The majority of abandoned children are born out of wedlock. Young women with illegitimate pregnancies are often ostracized by their families and society, and the lack of emotional, financial and legal support has led many to take desperate measures, including the abandonment of their children. Relinquishing mothers exist like ghosts in Sudanese society. The only evidence of the mother’s experience is her anonymous, abandoned child. In order to understand and examine this phenomenon, I used ethnographic performance art informed by design research practice (Performative Research Design). I performed various acts of abandonment to examine the mechanism and psychology of the act of abandonment. I endeavored through concrete, lived experiences to better empathize with the relinquishing mother and create awareness of the wider psychological and social complexities of child abandonment.

La génération de surfaces présentant des nanostructurations de surface variées et modulables est l'objectif principal de ce travail. L'auto-assemblage de copolymères à bloc ou de nanoparticules d'or a été privilégié, et nécessite pour se faire de moduler finement les interactions aux interfaces substrat/ matériaux déposés. Dans une première partie, un dispositif expérimental de greffage de silane alkyle en voie vapeur est décrit. Cette technique de greffage permet d'aboutir à des surfaces fonctionnalisées soit de façon homogène, soit de façon graduelle et ce, avec un ou deux silanes (substrat respectivement mono ou bi-composant). La robustesse, la simplicité et la flexibilité de notre procédé ont été démontrés par des caractérisations physico-chimique (mesure des propriétés de mouillabilité), chimique (spectroscopie de photoélectrons X) ainsi que par analyse topographique (microscopie à force atomique). Dans une deuxième partie, l'influence des interactions aux interfaces substrat / film sur l'auto-assemblage de copolymères à bloc PS-b-PMMA a été mise en évidence par AFM. A partir des substrats de silicium homogènes en énergie de surface, il a été possible de moduler la nanostructuration sur différents échantillons et à partir des surfaces fonctionnalisées graduellement, cette variation de nanostructuration a pu être obtenue sur un même substrat. Par l'utilisation de copolymère à bloc PS-b-PI, il est par ailleurs possible de générer des films nanostructurés sans préfonctionnalisation du substrat, sans recuit et ce quelle que soit l'épaisseur du film. Dans une troisième partie, l'influence des interactions aux interfaces sur l'assemblage capillaire/convectif dirigé de nanoparticules d'or a été démontré par microscopie à champ sombre. La nature chimique et la densité de greffage des silanes ainsi que la dimension des échantillons ont été modulées pour mettre en évidence le rôle de ces paramètres sur l'assemblage de ces particules. Cette étude montre que les interactions aux interfaces contrôlent l'assemblage des entités chimiques organiques et inorganiques et donc la nanostructuration de surface qui en résulte.

Human food consumption has changed from the late 19th century to the turn of the millennium, and so has the need for resources to sustain this consumption. For the city of Linköping, situated in southeastern Sweden, the environmental imprint of an average inhabitant’s food consumption is studied from the year 1870 to the year 2000. The average consumer is the driving factor in this study, since changes in food consumption have a direct influence on the environmental imprint. This thesis analyses the environmental imprint of human food consumption from a historical perspective, by applying two different methods. An analysis of the average Swedish food consumption creates the basis for a material flow analysis of nitrogen and phosphorus, as well as a study of the spatial imprint. Emissions of nitrogen and phosphorus into the hydrosphere have decreased over this period for the system of food consumption and production for an average consumer, while the input via chemical fertilizer has increased significantly. The efficiency of this system could be increased if for instance more phosphorus in human excreta would be reused within the system instead of large deposition and losses into the hydrosphere. The spatial imprint of human food consumption shows, given the changing local preconditions, that less space would be needed for regional production of the consumed food. However, the share of today’s import and thus globally produced food doubles this spatial imprint. The results of this study show not only a strong influence of the consumption of meat and other animal products on the environmental imprint, but also great potential in the regional production of food. In the context of an increasing urban population, and thus additional billions of people who will live at an increasing distance from the agricultural production land, concern for the direct effects of our human food consumption can be of decisive importance for future sustainable food supply.

Regardless of new mining technologies and environmental regulations, the minerals we extract from the earth’s crust will eventually run out. Likewise, our society demands a constant increase of technology to improve our quality of life. Mining in Zero Gravity is a speculative design project that offers a vision of our first attempt at mining platinum group metals from asteroids by the year 2040. Kolibri is designed within the boundaries of the future challenges facing the mining industry and the development of our space industry.

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<p>    </p> <p>Electronic waste is one of the fastest growing waste streams, spurred by their rising market and demand. However, these devices contain an array of metals that is recyclable for economic and environmental benefit through secondary manufacturing. As the turnaround rate for newer models quickens, consumers are motivated to purchase novel devices, leaving their current ones behind. Focusing on how United States (U.S.) households manage their electronics, a top-down approach stock and flow STELLA model was created to model the lifecycle of eight common electronics. Input data for the model came from a public online survey directed to U.S. household owning adults. From the model, a metallic stock and flow analysis was conducted to quantify the trends, environmental footprint, and economic value of stored devices in U.S. households and how it compares to devices being used, disposed, and recycled. The number of stored devices in the U.S. was found to be increasing annually with a stored amount of over 757 million stored individual electronic devices, nearly half of which originate from cell phones, carrying an economic value of 32.6 billion US dollars (USD) and carbon emissions of 7.6 billion kilograms (kg) from their metallic components alone for the year 2020. Most of the pollution and economic value stems from precious metals (PMs) and in a circular economy, these stored metals can have a significant impact to the environment and economy through recycled. Also, with advancing capabilities of smartphones, the metallic composition for device components of Samsung galaxy smartphones was quantified to assess their evolving metallic content. With the growing market of electronic devices, knowing the value and importance of devices currently in U.S. households is critical. This underlies the influence of sustainable design through a circular economy to push initiatives to manufacture recyclable friendly devices, expand the metal recycling industry, and motivate citizens to properly handle their stored devices. </p>