Focusing on the combination of multi-cultural and historical influences from my personal life experiences, my creations of odd juxtapositions of space, complex pattern and new iconography in my paintings, reveal more than merely a representational image to a viewer. Although my subjects may vary from the anonymous to media celebrity, it is their relationship to me that influences the creation of my static animation and visual noise.

The repetitive nature of my work allows me to divide the tactile experience of the creative process into a contemplative state. Repetition causes the body to move automatically, less aware of its surroundings; the recurrent contact of the hand with the form causes them to merge systematically. This is the point where the sculpture for me becomes conceptually complete. It is this harmonious balance between material and the physical process that I wish to reveal to the viewer.

My thesis pursues the exploration, invention, and redefinition of the role of Aesthetics through artistic practices of 3d digital graphics, 2d print, video, and sculpture. Aesthetic research altruistically generates visual installations informed by utopian idealism, science and technology centric culture, pop culture iconography, art history, international contemporary art and design.

Beth Abbott [Cranbrook; will work for food]; Duncan Anderson [Billy with cigarette and coffee; Kaltag, Alaska (Job and Sisyphus)]; Jane Anderson [Next; The Marriage]; Julie Branham [Depression; Country Church]; Laura Buckles [Untitled Graphic]; Ben Dowdy [Untitled Photograph; Pilcher Plants]; Leah Fraysier [Gold Breezes; Scales of Justice]; Joe Garber [On Staying Awake in a `62 Falcon]; Sharon James [Shavings; Church by the River]; W. Eric Layne [Drug Free Child Poster]; Rebecca Lehnen [Merissa, 1990; Vineyard, S.C.; The Understanding]; Brenda Neal [Warning Shot 1981]; Robert Peets [Early Morning Poetry]; Scott Pleasant [Troop Movements]; Christiane Popper [Untitled Drawing]; Doug Powell [The Follies of Cultural Preservation and the 2 Live Crew; The Revelation according to John (Lennon)]; Tim Quillen/Karen Thompson [Catalog Cover]; Richard J. Righter [U.S. Marine]; C. Denise Russell [The Knight; Greenhill Cemetary]; Rob Russell [Two-Room Apartment; Junior Goes To Jail] / https://dc.etsu.edu/mockingbird/1024/thumbnail.jpg

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The case for the new aesthetic -- Manifestations of the new aesthetic -- Glitch ontology and the new aesthetic -- Setting the stage : the new precursorsand boundaries for a new aesthetic art -- Letting go : new aesthetic artists and the new aesthetic art that works -- Teleology and the new aesthetic -- Conclusion -- References -- Biographies. "The new aesthetic and art: constellations of the postdigital is an interdisciplinary analysis focusing on new digital phenomena at the intersections of theory andcontemporary art. Asserting the unique character of New Aesthetic objects, Contreras-Koterbay and Mirocha trace the origins of the New Aesthetic in visual arts, design, and software, find its presence resonating in various kinds of digital imagery, and track its agency in everyday effects of the intertwined physical world and the digital realm. Contreras-Koterbay and Mirocha bring to light an original perspective that identifies an autonomous quality in common digital objects and examples ofart that are increasingly an important influence for today's culture and society." / https://dc.etsu.edu/etsu_books/1118/thumbnail.jpg

Tailored is a graphic design experiment which explores clothing as communication. It tells the story of my life through my body and the “designed” skirts I wear. Clothing is a visual representation of who we are and what we do. Through Tailored I am pushing the boundaries of how people read what I wear. I have designed and made skirts that explicitly define (through words, fabric and image) the six main compartments of my life. This paper records and explores the visual experiences I create for those around me and myself. Tailored is a personal investigation of how clothing speaks about me through personally designed garments.

<p>The notion of artistic creativity has become so commonplace in our thought that the only question remaining, it seems, is whether anyone (or everyone) other than the artist is capable of being creative. Even noting that this notion, used in the sense that we tend so readily to accept, is no more than two hundred years old, is unlikely to prevent the raising of at least one eyebrow at the suggestion that the idea is not as unproblematic as it might at first appear. The purpose of this thesis is to revitalize the belief in human creativity by returning to its primary philosophical source: Immanuel Kant.</p> <p>By doing this, I hope to revive at least the possibility of serious philosophical debate on an issue that is now either accepted as a closed case (as it typically is by aestheticians), or dismissed as an insufficiently philosophical topic (as is often done by non-aestheticians). In fact, the belief of human creativity as we now know it is ultimately the result of an enormous metaphysical and epistemological effort by Kant to preserve the possibility of moral freedom. Losing this historical context has caused 'creativity' to lose its philosophical bite. Regaining this context -- the essence of the current project -- should force us to think seriously again about a problem that opens out, not merely on major issues in aesthetics, but on the major philosophical tide of the past two hundred years.</p> / Master of Arts (MA)

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