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Machines of Curation is an attempt to confront the ever-growing landscape of technology I observe and live inside of daily. This work is specifically concerned with my interest in how we interact with and alter our surrounding environments through technology. The constant tether we have to our devices is becoming more reminiscent of a parasite and host, rather than of a device and user. It informs how we are to look at things, speak with those we love, pay for things, and receive news; just to name a few. I seek to co-opt these methods to urge the viewer to ask their own questions and make their own decisions on how they feel technology is shaping them in ways they may be unaware of. Graphic design holds a unique vernacular to our digital universe as one of the primary mediums that helps organize and create it. The overall goal of this work is that a consistent irony can be established through the work that helps the viewer experiencing it question their views of technology.

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This paper considers major downfalls of current transportation practice and policy while discussing my efforts of improving efficient means of mobility. By commenting on current legislation, historical events and perceptions I will justify my efforts and approach of transportation design that has led to the Master's Thesis project of bike design and construction.

My work is concerned with our perceptions of climate change and our relationship with the environment. Scientific study of historical worldwide climate data shows that global temperatures have been steadily rising for at least the last one hundred years. The concept of the anthropocene—a particular geologic epoch defined by human presence—links climate change specifically to humans and their impact on the environment. Even confronted with the data, many feel disconnected from climate change. While one can detect temperature change of single degrees over the course of seconds or minutes, it is difficult to feel this kind of temperature change over the course of decades. My work for the past three years has been concerned with questions related to how we feel and figure environmental loss. Crafting, mourning, and emotion have continually cropped up in my work as ways of apprehending environmental loss.

A place exists where memories and daydreams are allowed to mingle. This place is safe. Away from judgmental eyes. Away from outside influences. This place is safe. Free from the constraints of time and obligation. This place is safe. Attach yourself to this small corner of the world. This is your space, claim this space, for This place is safe.

The "randeurive" (pronounced: ran-deu-reave) is a research strategy that very loosely fuses elements from the long-distance cycling sport of rantdonneuring with the Situationist concept of dérive. In randonneuring, cyclists attempt to complete routes of 200km or more in a given time period, stopping in at check points every so often. Like a randonneur the randeurive uses a bicycle in order to engage in long-distance travel, allowing us to get outside of our immediate surroundings and broaden our view of psychogeography and constructed landscapes.I use the randeurive as a research methodology in order to retrace and de-scribe these spaces, as well as the technical objects, people and social relations that fill them.

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TRANSITION is an installation of films that engages the histories of the bombings of Hiroshima and Nagasaki to the meltdown of Fukushima Daiichi in 2011—it is an attempt to bridge the gap of nuclear issues that are still present today. I redirect found images from their institutional contexts to reposition them as a dialogue between the archival and my own footage. All histories are told through media, and all mediations are remediation of the event. Histories are never fixed, but are constantly reproduced by different groups who are involved. The past and the present must always be interconnected, contesting the importance to understand the fluidity and intersectionality of histories.

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