The purpose of this document is to demonstrate how I use my art making as an active meditation in order to temporarily subvert ego and create a new subjective reality in visual form. The results of my research will provide the reader with the ability to connect existing philosophies of the Yoga Sutras and Jungian Theory with new art works that explore active meditation, neurosis, and the archetypes of the collective psyche. My goal is to reconstruct these concepts into a visual medium that reshapes facts and theories into images of my own truth, giving free play to fantasy akin to that of magical realism by detailing works from Corrupted Chakras: A Bestiary, You Want Alchemy, and the State of Mind: Chitta Vritti series. The reader and viewer will be challenged to think about how the art I make resynthesizes these concepts in a unique way, which communicate my feelings and strivings that ultimately affect a measure of personal and creative transformation.

The first two decades of the new millennium have witnessed an abundance of change in the areas of textual production, digital communication, and our collective engagement with the Internet. This study explores these changes, which have yielded both positive and negative cultural and developmental outcomes, as products of digital dissonance. Dissonance is characterized by the disruptive consequences inherent in technology's incursion into the print publication cultures of the twentieth century, the explosion in social-media interaction that is changing the complexion of human contact, and our expanding reliance on the World Wide Web for negotiating commerce, culture, and communication. This study explores digital dissonance through the prism of an emerging literary subgenre called technohorror. Artists working in the area of technohorror are creating works that leverage the qualities of plausibility, mundanity, and surprise to tell important stories about how technology is altering the human experience in the twenty-first century. This study explores such subjects as paradigmatic changes in textual production methods, dynamic authorial hybridity, digital materiality in folklore studies, posthumanism, transhumanism, cognitive diminution, and physical degeneration as explored in works of technohorror. The work's rhetorical architecture includes elements of both theoretical and qualitative research. This project expands on City University of New York philosophy professor Noel Carroll's definition of art-horror in developing a formal explanation of technohorror and then exploring that literary subgenre through the analysis of a series of contemporary texts and industry-related trends. The study also contains original interviews with active scholars, artists, editors, and librarians in the horror field to gain a variety of perspectives on these complicated subjects.

This dissertation is a textual experiment in noise poetics. It is an experiment in that it results from indeterminate means, alternative grammar, and experimental thinking. The outcome was not predetermined. Noise poetics is the use of noise to explain, elucidate, and evoke (akin to other poetic forms) within the textual milieu in a manner that seeks to be less determinate and more improvisational than conventional writing. This text argues that noise poetics is a necessary form for addressing political inequality, coexistence with the (nonhuman) other, the ecological crisis, and sustainability because it approaches these issues as system of interconnected fragments and excesses and thus has the potential to reach or envision solutions in novel ways. The experiment draws quotations and fragments from a diverse collection of noise theory texts, arranged and assembled via indeterminate cut-up methods based on the work of several prominent artists and theorists (John Cage and William Burroughs among them). The experimental text (contained in full in Appendix B) was then edited and added to in order to craft the textual project into an argument for noise poetics that followed the juxtaposed lines of thought towards possible conclusions and practical applications. This project coincided with and was supplemented by bruit jouissance, a multimedia audiovisual noise project (contained and explicated in Appendix A). The two projects together are two applications of thoryvology (an articulation of noise theory created and presented within the text) and as complementary methods of viewing and understanding each other.

I create innovative artistic works in which the experiential consciousness of the viewer drifts between objects, images, and the auditory narrative. The work approaches the visualization of memory and the catharsis of the loss felt from death. The projection of light onto lifeless entomological specimens mimics the projection of memory as a means to return to what has been lost. The digital copy of the specimen flickers across their bodies as a tribute to the movement that once possessed them. A List of Things that Quicken the Heart is a body of multimedia installation and single channel work that has been completed as part of my candidacy for an Emerging Media: Entrepreneurial Digital Cinema M.F.A. at the University of Central Florida. The single channel video work is created in the essay film mode. The visual elements of the piece are a blend of the effect of contextualizing disparate images and subjects. It is the means by which the audience is led to draw connections to the subject of memory without making any specific inferences. As the assembly of images takes place, so too does the assembly of theoretical and observational threads in the essay narration. As the filmmaker, I am speaking directly to the viewer about the implications of my experiences and observations. The editorial rhythm is such that the viewer is allowed brief pauses in the flow of information to meditate on the subject of nostalgia, and how the film incites them to consider the notion. There will also be an ambient audio component designed with the idea of creating a subtle, auditory contrast between familiar and uncanny ambient sounds. The correlating installations will serve as artifacts of memory, the physical objects relevant to my own nostalgia, which will help to serve as a recollection of the narration. In order to integrate them with the tone of the essay film, the narration will be played as a separate component through speakers that surround the space, so that it will envelope the viewer.

This project tested an aesthetic use of 3D space to create alienation and immersion. It expanded upon it through iteration into other methods of cinematic alienation. To do this the project produced three short films each used the aesthetic of stereoscopic space. Two of the films were tested in conjunction with other methods of alienation while one served as a baseline. The project was able to render the spatial method of alienation and immersion, and found that other methods of alienation had an effect on it. While the project was able to test the use of 3D space to alienate and immerse, the process was more difficult than expected and the end films were of lower quality than desired.

With the advent of nature photography and film came new ways to understand and interpret the natural world. Prior to the 1910s these formats involved a more scientific and objective approach to recording nature. This aesthetic was abandoned in favor for narrative recreations and Hollywood structure after the 1930s. It is my belief that the dominant use of anthropomorphization, manipulations of setting and animal life, and rugged explorer motifs, all have lead to a loss of a more contemplative and meditative appreciation of nature within the Nature television and film format. It is my goal to explore through a series of videos how one can more naturally represent a setting through the use of perspective and compositional framing, matching the natural rhythms of a setting through editing and motion, and being conscious of the viewers sense of placement in a space. I intend to visually demonstrate how a more organic, situated, and less Hollywood-style of interpreting nature can lead to a deeper and more meaningful appreciation of it.

Reality is ever changing, and as we gain experience, our perceptions of it transform. Plato's allegory of the cave addresses the way one person's journey from darkness into daylight transforms his reality. My own body of work can be described through this extended metaphor, similarly benefiting from effects of education, self-reflection, and experience dramatically altering my perceptions of myself and my artwork. As projected by Plato, I was forced through an arduous confrontation with my lack of understanding of the human condition, reshaping my ideas to comprehend and adapt to the metaphorical daylight. With new understanding, I return to give a secondary assessment of my identity and previous body of work.

Nightgaze is a feature length visual mixtape created by May Santiago to fulfill the Masters of Fine Arts program at UCF. The mixtape is a study of autobigraphical depression in metaphorical visual tracks. Originally conceived as an experimental narrative, it has evolved into a form of essayistic distance within a narrative framework with experimental deviations. This thesis tracks the project from its original conception, through the pre-production, production, and post-production processes. It also formulates a plan for marketing and distributing the project.

The Further Adventures of Walt's Frozen Head is a feature comedy written, directed, and produced by Benjamin Lancaster. It is a part of the requirements for earning a Master of Fine Arts in Entrepreneurial Digital Cinema from the University of Central Florida. This film hopes to engage the popular urban legend and mythologies surrounding Walt Disney and the Disney company, and uses the story of a father letting go of his daughter to contradict the central messages of the Disney Company, i.e. believe in your dreams, and they will come true. A film of this subject matter requires the mircobudget approach due to the guerilla style shooting and the dismal prospect of financial returns. This thesis is a record of the film, from inception to completion with the plans for distribution.

Legends of the Fabricated Wild is a feature-length body of work of landscape films. Voice-Destroy, Self-Portrait: Impermanence and the titular Legends of the Fabricated Wild are the experimental films that comprise my body of work. Keep your Distance, a single-channel installation, is a supplemental piece. Legends of the Fabricated Wild frames the complex interaction between a filmmaker and the collective unconsciousness of the natural environment, a theory outlined by Carl Jung, considering the implications and discoveries along the way. Subtle movement and precise compositions provide a transcendental perspective on the natural Florida landscape. Images of landscapes devoid of human figures are structured together in my work to meditate on the environment and the way humanity has shaped the landscape. Super 8mm and 16mm analog film frames expansive landscapes in a square image and challenges modern cinematic representations by applying the texture of celluloid. High definition digital video contrasts analog film. I foreground artificiality and the ways humanity has utilized the landscape through this medium. While searching for places to document "pure" or untouched landscapes, I discovered that modern landscapes are always influenced by the exchange between humanity and the natural environment. I wanted to foreground my own interaction with the natural Florida environment and challenge my interests and dominant ways of viewing landscapes. Through the assembly of a cinematic essay of landscape images with subtle motion, I foster an appreciation for the natural environment in an age of hyper-activity and exploitation of the landscape.