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Works cited: pages 116-122
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Includes bibliographical references (pages 48-50).
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Bibliography: pages 107-108
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Bibliography: pages 95-101
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Bibliography: pages 48-49
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Works cited: pages 38-39.
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Works cited: pages 38-39
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Works cited: pages 35-37.
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Includes bibliographical references (p.37-40).
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Includes bibliographical references (pages 43-44) Includes video of Front Porch Improv’s performance of "All About Eve Show" at Ghost Coast Distillery, Savannah, Georgia, September 14, 2019.
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Includes bibliographical references (page 157).
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Includes bibliographical references (p.22-23).
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Includes bibliographical references (pages 75-81)
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Works cited: page 58.
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Bibliography: pages 117-119
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Includes bibliographical references (p.118-119).
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This thesis focuses on enhancing and sustaining local economies and communities through a reconnection with nature and the life-sustaining elements provided by agriculture. Represented is a biophilic design approach where there is a mutuality in the relationships between society and the natural world.
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This study will address the need for an ecologically designed architecture as the basis for a re-envisioned Futurist movement. As Futurism of the early 20th century imagined a technological and anti-historical architecture to represent a new era through the factory and its aesthetic, so too will this reimagined Futurism represent a new era -- a modern era that realizes the faults of its past and exists more ecologically with the planet in response. Paolo Soleri’s concept of the ‘arcology’ supports a solution to this situation through a consolidated, self-contained structure of human and environmental synthesis. This thesis will research how to apply this self-sufficient super structure in a sustainably conscientious and ecological manner that will better ensure survivability of the planet and its inhabitants and create an exemplary form to base this New Futurist movement.
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Includes bibliographical references (p.440-441).
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Works cited: pages 87-88
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Works cited: pages 201-203.
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Bibliography: pages 36-37
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Our personal possessions reveal our character and provide us with tangible markers of our memories. The photographs from the series Trace (noun and verb) are an exploration of my own memories and biography. I have photographed my own possessions, both mundane and memorable and those of my family members. These objects possess a history and contribute to the telling of the story of my life and the lives of those closest to me, as my personal traditions are deeply rooted in my southern upbringing. In the private, interior spaces within which these material possessions are held, my family’s most intimate facts, fictions and secrets are commemorated. History is perceived at the moment in which the past is petrified into an image. Photographs are incapable of retrieving the past; they simply attest that a “now” existed in the past.
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Bibliography: page 29
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