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<p> I am a woman who was born and raised in Iran, a country that has undergone seismic changes throughout its history, from political to cultural ones, all of which have affected peoples&rsquo; ideologies for thousands of years. Like my peers, I have numerous personal concerns to explore in my work. I seek to represent the stark contrast between tradition and modernity in Iranian culture, which has leaked into different aspects of my life. Early on, this was the chief question that led me to develop a photography project while I was about to leave my home country. At that time my journey started based on this first series of work that I made. </p><p> After moving to the United States in 2013, I started to shape my ideas around my personal concerns over the cultural shock I had faced. Moving to a new nation and facing new people who think, act, behave, and talk differently altogether have all made me feel like a stranger. At that time I started to concentrate on issues revolving around the oppression of women throughout history by portraying my ideas through photos of human figures that later transformed into symbolic objects. At that phase, aesthetics of organic forms of Persian handwriting brought meanings into my abstraction. I employed poetry as a representation of the culture in which I belong. I dedicated my concentration to various layers of connotation through which form and content had a chance to shape and convey a cohesive reference. </p><p> Following my first year of graduate school I made a trip back to Iran during the summer of 2014. It dawned on me that the memories of my past versus the days of my present had generated a duality that transformed into an identity issue. This realization made me aware that I was becoming a totally different person while studying abroad. This transition led me to move from representing my inner feelings, and develop my language toward redefining my perception of time and space. This phase of my work was a m&eacute;lange of photo and text presenting memory, culture, and history, and it formed the work in the thesis exhibition.</p>

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ska jag springa runt i 3D-labbet för att tänka på hur leder fungerar, en animerad figur som inte får röra sig som en robot, min dröm är att hitta den där parfymen som luktar plastdocka lika mycket som jag tänker ge min pojkvän parfymen som luktar nytryckt bok, det börjar med Fountain of Youth och slutar i syntetisk biologi och DNA-mutation, – allt för att hålla sig vid liv, eller åtminstone ge intryck av att göra så

A collection of poems by Ryan Bonner.

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When the United States first joined World War I it had long been without a large standing army, it soon became apparent that there was a need for soldiers and training facilities. To solve this problem, the United States utilized colleges and universities as training camps. Because of its strong military tradition, Louisiana State University (LSU) was mobilized for this purpose. Although this mobilization was a serious turning point in the schools development, not many scholars have written histories of the changes during this time. LSU began as the Seminary of Learning of the State of Louisiana in 1860, but soon changed its name to the Louisiana State Seminary of Learning and Military Academy. The Board of Supervisors pushed for the change because it felt a military system would produce a high level of education and discipline and repay the state by providing military knowledge to its young men. Its first superintendent, William Tecumseh Sherman, and faculty began the long tradition of mixing military discipline with strong academic education. This tradition served LSU well when Congress enacted The National Defense Act of 1916. It standardized military training at colleges and universities through the creation of the Reserve Officers Training Corps (ROTC) and later its replacement, the Student Army Training Corps (SATC). LSU experienced an easy transition to a military training facility. Mobilization at LSU changed the campus experience. Because many students left to join the fight, student organizations, athletics, commencement, and other activities were adversely impacted with the decreased enrollment. Additional changes included inclusion of war courses in the curriculum, planting campus war gardens, implementing food conservation, fundraising for the war effort, and assisting the Red Cross. Since WWI was a technical war, the government called on faculty to lend their expertise and knowledge in various ways, such as public speaking to gain support for the war, working in military and government agencies, or answering the call to colors.

Kapitel 1-5 är ett gestaltande utav de processer som en konstnärlig praktik består utav, i ful litterär form. Texten består även av ett inledande förord och en eftertext. / [I examensarbetet ingår utställningen "Taking care of business":] Material: gelatin, senap, kontorsstolar, rökelse, laser, binärljud, robotdammsugare, kalender Teknik: installation perfromance