As new media become more ubiquitous, our emotional experiences in digital space are increasing exponentially as well. While there is much talk of “affective” computing and “affective” new media art, a disconnect exists between networked emotions and the popular media that they inhabit. This research presents a theoretical framework for assessing “digital emotions”—a term that describes the feedback process between digital technologies and the body with respect to short, networked inscriptions of emotion and the (re)experience of those inscriptions within the body and through digital space. Digital emotions display five basic characteristics that can be applied to a variety of media environments: (1) They describe a process of feedback that link short, emotive inscriptions in digital environments to users and their (re)experiences of those inscriptions; (2) This feedback process includes, but is not limited to, the inscriber, the medium, and the receiver and the emotive experience fuels the initial connectivity and any further connectivity; (3) The emotional value varies depending on the media, the community of users, and the aesthetic experience of the digital emotion; (4) Digital emotions influence our emotional repertoire by normalizing our paradigm scenarios; and (5) They are highly malleable based on changes in technologies and their ability to both expand and contract emotional experiences in real time. The core characteristics of digital emotions are applied to three broad and overlapping categories: technology, community, and aesthetic experience. Each of these aspects of digital emotions work together, yet they exist along the massive spectrum of our online, emotional experiences—from our casual click of the “like” button to digital community artworks. Applied to digital spaces along this spectrum, digital emotions illuminate the feedback process that occurs between the media, the network, and the environment. The framework ultimately suggests that the process of digital emotions explicates emotions experiences that could only occur in digital space and are therefore unique to digital culture.

Urban educational environments struggle to offer green space and natural light to their students. Studies have shown that exposure to natural elements, such as natural light, ventilation and vegetation improves student performance and concentration. The Waldorf School understands a child's innate need for natural learning; making it a natural choice when studying design options that integrating nature into the educational environment. The emphasis on nature based learning in the curriculum leads Waldorf to be the perfect school to test the boundaries of what is possible in urban educational environments. The project integrates nature into an urban adaptive re-use school environment, through use of natural lighting, access to green areas, and sustainable materials. The site is a total of 30,000 square feet, evenly separated between two floors and a roof garden. The site was built in 1923, as an automobile storage facility and straddles the boundary between an industrial neighborhood and a historic residential neighborhood. Through use of the Waldorf principles and architecture, an educational environment infused with natural rhythms and access to nature will be realized. Through the research conducted on various site, program and process case studies, investigation of architectural options and a thorough understanding of the needs of a Waldorf school, the project develops a prototype to be used in other urban schools.The work considers the possibilities in urban educational environments to integrate natural elements in the architecture for the benefit of students and teachers; creating a design example for both Waldorf and public educational environments.

My thesis work is about imagination. I use the collaborative efforts of the viewer's mind and my sculptures, or specimens, to make associations of real life animals. I feel this engages the viewer and in turn invites them to inspect the work on closer level. This is my ultimate goal in the work, to take hold of the viewer's curiosity and have them examine the work on a closer level.

This thesis tracks the formal and conceptual development of my work during the two years of graduate study at the VCU Photography and Film Department. It describes the influence of photography on my evolution as an artist and contextualizes my desire to expand the practice beyond the traditional limitations of the medium. It recounts my experimentations with assemblage, video and installation and their contribution to my understanding of spatial and temporal dimensions in the formal construction of my work.In part, the thesis is also a statement of my convictions about art making. It discusses theimportance of perception and subjective experience, as well as the role of personal history in my work.

This paper is a discussion of certain philosophical issues that have informed the progression of my work to date.

GreenLife is the name of the retail interior design project that embodies this thesis. Using interior design as a medium to influence customers,I sought to create an environment that promotes a connection to nature and an awareness of creative possiblities within the context of a store. It addresses the problem of personal social responsiblity by using shopping, a dominant activity in the western world, as a tool for change. As a project, GreenLife attempts to answer three questions: How does design inform cultural experience? How can a connection with nature inform consumerism? Can a store transcend its purpose from filling materialistic needs to become a place of fulfilment? I theorize that if offered a desireable alternative to products that create excess waste and harm our surroundings, an individual will choose the green option, because it will satisfy both a materialistic want and an emotional desire to feel good by personally contributing to help our environment. If these options are presented with a sense of beauty, fun and exploration, it can change how we culturally perceive social responsibility, removing guilt and making it a matter of course. GreenLife is a store designed as a model home with all products set up in a testable format. The interactive nature of the design is intended to provide education and a sense of security within a pleasureable experience, allowing people to confidently choose to live green in their own homes, and to thoughtfully consider the possiblities in other aspects of their lives.

A favorite poet, a strange woman on the beach, pictures I love to look at. Back yard voyeurism, some thoughts on portraiture and why I couldn’t be a photographer. Strange rituals that make sense. Unexpected revelations. Two kinds of light. This essay presents part of the constellation of thoughts, images and ideas that have informed my most recent video installation, Saturday.

The following writings contain different segments about the concept of time. To best describe certain feelings and thoughts concerning my ideas and work I have used poetry and short stories in a prosaic manner. I also felt it necessary to include some historic facts about the history of time and its measuring devices.

This thesis project explores repurposing a hydroelectric plant along Richmond Virginia's Canal Walk. The building has been redesigned to create a community-oriented space programmed as an indoor park, event venue space, and cafe. Throughout this thesis, it became important to create private niches within a public space while creating a flexible public venue that accommodates a variety of activities. Through a variety of spaces that offer users options, a flexible public venue is creating, yielding a community-oriented environment that reconnects local with the site.

I often think of life as a tight rope stretching across an expanse. Our inner strength enables us to walk forward across it. When this fails us, we fall. But in those moments when we prevail, we soar and float as though weightless and timeless. As a gymnast I learned that control of one's insecurities results in a powerful and balanced presence of body. Give into them and the body becomes uncertain and clumsy. Rarely is life this transparent. Many forms of tension manifest themselves in physical, spiritual, and emotional unrest. How does the physical contour of the skin reflect the soul of a material body? Through the use of tension and balance, and with the aid of transparency, translucency, and opacity I alter the perception of surface, form, internal and external space. My work is a comment on the flux of my emotions and attitude towards daily life.