This piece is an extension of previous exercises I have done in which I attempt to describe a complex notion–such as a place or self– in a small series of photographs. I then create a collage from the images in order to further communicate the notion at hand. In this investigation of “place” I set out to define the feeling of a space with three images. The space I focused on was the courtyard outside of Alden library at Ohio University. I was interested in this place because of its eddy-like nature. I felt that it is a slow place or a still place; a place that is not often inhabited or, if it is, is inhabited as a place to “be”, as opposed to a place through which to move. I also saw that it was surrounded by “through” spaces which people often traveled coming to and from the library. This created an effect not unlike the eye of a tornado...

3d Printing, Collective Open-Source Bootstrapping, and Parts for the Eventual Repair of my Solidoodle 2


I’m currently an M.S. Environmental Studies student and am interested in closed-loop supply chains and integrated social, ecological, and economic systems. Through researching these topics and their literature , I encountered the work (academic, commercial, hobbyist) being done to develop technologies for affordable desktop 3d printing. These technologies hold awesome, existing potential with implications not only for the household scale manufacturing of some plastic products, but also already demonstrate a degree of their promise for creating objects of increasing material diversity (i.e. range of plastics, composites, ceramics, metal) and complexity (printing with multiple materials to achieve design requirements for mechanical, chemical, and electrical properties). There are machines that allow for small-scale production of recycled printer feedstocks, too. Having said that, I...

Colorscapes (01)


Leander Edmiston and myself(Dan Manion) have begun to experiment with a series of color-based video projects. Our aim is to explore the many facets of color, including its incorporation into storytelling and its emotional associations. Ambiguous and undulating inks confront the viewer with an escape from reality. Together we have begun creating organic-esque, complex, and abstract “colorscapes” that reference the natural world.      

Black Hands Reaching Toward Black Space


This work is beginning to ruminate on my environmental influences in relation to my interpretation of the world, an interpretation that is constantly morphing. This work attempts to address a communal need to define humanity. In other words, it addresses the ambiguity of the definition if the word “human”, by confronting the viewer with an uncomfortable and slightly manipulated image of a part of the human body.  I use the experience of returning to my childhood home and feeling as if I can no longer exist comfortably in that space, because I exist outside of that community’s definition of “human”. I am categorized as “other”, which I think is an experience that can be universal. ​  

Temporal Landscape


In the junior level course, Place, Space, and Landscape our class was given the task of showing the passage of time. I decided to do this by showing the otherwise overlooked changes in Athens by accelerating a day to be shown in a matter of minutes.        

The day I watched my Dad pull his gun


During my second year as an MFA candidate in the ceramics department here at OU, I am exploring childhood recollections through recreation and adaptation. My hope with this work is not only to recall memories that are significant to my development, but also to revisit times in my life when important people (such as my father, grandparents, etc.) were still living and, in turn, still a source of comfort and safety. On to the project… For this iteration of the piece I’ve titled “The day I watched my Dad pull his gun”, I moved my studio into the installation space up at the Ridges for 2 days. During this time, I built loosely constructed wooden supports out of 2x4s that would eventually hold raw clay constructions of the human hand. I enjoyed working with raw clay in this manner because it allowed me to construct these pieces free of the anxieties most often...



In Mitochondrial, I am investigating areas of intersection between the systems of our own experience and existence and the systems or laws that control the universe at a cosmic level. By doing this, I am able to take areas of extreme unknown, wonder, and awe and bring them into my own sense of control by filtering them through a system of rules and guidelines. These intersections of existence also help to fulfill my own longing for connection to the universe as a whole and to make those ideas of extreme scale and unknown closer to our own conceivable reality. By viewing our existence in relation to the rest of the cosmos, I hope to create a sense of connection for the viewer to the universe as our home, but also to create a connection to one another. The spiral design of Mitochondrial is based on the golden spiral, or Fibonacci spiral, which exists as the structure for the arms of the...


By Kyle Hannon

We live in a world over-saturated with stimulation. Many people are overwhelmed by this stimulation, whereas others thrive on it. I am exploring the influence of stimulation in the form of color, light, and motion on a person’s emotional states, and the potential of fabricating it with design principles in mind. My goal is to create a dynamic environment to convey stimulation, through the use of projected imagery.        



In this contemporary culture, the meaning and method of tradition is always in flux. As humans, we continuously strive to achieve a level of understanding of something bigger than ourselves. For some, this is religion, by definition: (A particular system of faith and worship). For some, it’s a scientific understanding of the world around us. I find transcendence in music, whether it be listening, playing instruments, or connecting with fellow fans of music. I want to dissect the parts and methods of music and religion and find similarities in their ability to transcend people.      



My name is Leander Edmiston, I am a sophomore strategic communication major, with a minor in film. Throughout the last year I’ve found a real passion in storytelling, typically through film. I have been lucky enough to find a great crew of undergraduate students who share my passion. These people include: Daniel Manion, Eric Bishop, Cody Zumbro, Jordan Allen, Aaron Intrater, Jack Hughes, Caroline Bresnahan and Ryan Scott. All of these people make up MILK PRODUCTIONS. Each of us enjoy participating in competitions, such as Ohio University’s annual 48 Hour Shootout. Due to unforeseen complications my team and I were in need of a camera, lenses and sound equipment. At 5 pm on a Friday the shootout assigns each group a genre, prop and line of dialogue they must use in the film. Each group has 48 hours to write, film and edit their movie. It is a rush, full of quick thinking, on the...

To Define One’s Self in Five Images


For this piece I was faced with the challenge of capturing my being in five photographs. It has been said that “a picture is worth 1,000 words”, but I have yet to meet a person that can be defined in 5,000. The multilayered quality of humanity is infinitely complex and indescribable. So I created a collage with the five photographs. The different aspects of self interact with each other to further evoke the layers of person that each of us hold within us. Placing, spacing, scale and color come together to create a single image of self. Whatever that may be. I created this piece in late January of 2015 in my studio at Ohio University.      

Soldiering Shadows


Oral history is a powerful tool in documenting not only historical events, but also in preserving personal stories for future generations. My research explores the idea of “soldier” with an oral history technique, in an effort to inform, inspire and empower others. My early research showed that the average American strongly associates the word “soldier” with an individual enlisted in the military, which is consistent with the most common dictionary definition of the word. However, this project is not one that will focus on the military soldier; it’s the everyday soldier I am interested in. So, at this point in my research, I have begun to define exactly what a soldier is to me through written exercises and spoken word. Through different combinations of audio files using the aforementioned documentation, I believe I have achieved a quite impactful auditory message regarding the true...

Black Peter — Reexamining Santa Claus


Black Peter is a video that presents a disturbing view of Santa Claus. The world is unlocked to this sinister man when we find ourselves stuck in a roundabout listening to Christmas music on repeat. The piece employed video from multiple camera sources to illicit different responses to the visuals presented. Enjoy!    

The Myth of Stardaddy Dixie


Stardaddy Dixie is a musical persona pursued separately by two experimental rock musicians from cities hundreds of miles a part. My thesis film builds a narrative around the lives of these two individuals and brings them clashing together for a performance of a lifetime. The pseudo documentary collects footage of their lives and other performances to be woven into the story. Here, we decorated a space at a house show in Athens and brought lights and cameras to catch the unexpected. <a href=”http://humanconduct.bandcamp.com/album/stardaddy-dixie-tennessee”>Stardaddy Dixie – Tennessee by Human Conduct...

Never Again, Every Year


Intention shapes human perception of actions. A simple gesture can become a powerful movement when it is executed with mindfulness. Dance movement devoid of intention and internal motivation quickly becomes calisthenics, slipping from the realm of art into what would be more appropriately defined as aerobics or virtuosic athletic activity. In my piece Never Again, Every Year, I investigated the possibility that the reverse of this dialogue could also be true: that utilitarian movement could be made into art through focused attention. The piece used light, shadow, fabric, and a unique movement vocabulary to examine the potential of the human conscience to transform banal, task-like movements into an emotionally resonant performative experience. I collaborated with composer D. Turner Matthews to create a multi-sensory audience experience. “Never Again, Every Year” was a 20...

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