“In my opinion, wherever there is a public, there is a sacred place. When there is no public, there is no performance because there is no dialogue,” claimed Marina Abramović (b. 1946) in conversation with Italian art critic and contemporary art historian Achille Bonito Oliva. For Abramović, the presence of an audience is constitutive to performance. Performance art has frequently been defined by its provocative impulse, functioning as a responsive and unstable form that artists have turned to when engaging with political, cultural, or social pressures, and when seeking to unsettle the conventions of more established artistic disciplines. These sentiments are conveyed by her first performance works, The Rhythm Series (1973-1974). Over the course of two years, she completed five separate performances that explored the physical limits of the body and the relationship between performer and audience. Abramović performed Rhythm 0 (1974), the fifth and final work, at the gallery Studio Morra in Naples, Italy, from 8 pm to 2 am. She placed seventy-two objects on a table that could cause the human body extreme pleasure or pain, including but not limited to objects like a comb, lipstick, paint, a feather, a bone of lamb, cake, and a gun. Instructions posted on the wall declared: “I am the object. During this period I take full responsibility.” This experiment used the art space to expose what audiences are capable of when social inhibition is suspended and moral responsibility is left unguided. This paper asks, in her performance Rhythm 0, how does Abramović's deliberate surrender of bodily agency transforms the audience from passive observers into ethically implicated subjects, forcing an intersubjective encounter with the artist that exposes unconventional, if not revolutionary, social conditions governing the art space?
Throughout the seventeenth century, ideas of the occult and mystique of witchcraft consumed public interest in artistic circles in Florence, Italy. Salvator Rosa (1615-1673), an Italian artist from Naples, participated in this movement from 1640 until his death. As interests in the occult heightened during his time in Florence, he participated in suspicions of witchcraft through his Scenes of Witchcraft (1645-1649). Located at the Cleveland Museum of Art, the series consists of four tondi, each portraying a witch with harrowing spectators at different times of the day. However, to ensure his esteemed prominence, he returned to Rome and produced religious works. The macabre interests that captivated Rosa in Scenes of Witchcraft (1645-49) became a vehicle of undermining the church through The Shade of Samuel Appears to Saul (1668) when the artist returned to Rome. In this paper I propose that through shared iconography, The Shade of Samuel Appears to Saul is a painting of witchcraft, and serves to undermine the authority of the church. Witches or other necromancing subjects were accepted solely to elevate the morality of biblical characters. By giving the witch of Endor agency, Rosa is offering an alternative subject that serves to rival the power of God.
This capstone report presents E.D.E.N. (Every Day, Every Night) — an original continuous improvement framework designed for nonstop, high-dependency operations in industries such as logistics, aviation, digital infrastructure, and healthcare. Drawing on principles from Lean, Six Sigma, high-reliability organizations (HROs), and data-driven decision science, the paper introduces four interlocking pillars: Engaged & Empowered Teams, Data-Driven Continuous Feedback, End-to-End Alignment, and Nonstop Adaptive Resilience. Through detailed analysis of recent global disruptions — including the 2025 CrowdStrike outage, Boeing’s manufacturing failures, the Red Sea shipping crisis, and Taiwan’s semiconductor challenges — the work demonstrates how organizations can embed real-time adaptability, resilience, and continuous improvement directly into their operations. The E.D.E.N. framework is proposed as a new model for achieving operational excellence and resilience in an era where downtime is no longer an option.
This is a poster detailing the scope, design, process safety, and economics for a chemical engineering capstone by project group 5046-2403. The project is centered around capturing carbon dioxide emissions from indoor testing cells at the General Electric Aerospace site in Peebles, Ohio. The process captures carbon dioxide from jet engine exhaust through a series of adsorption towers with activated carbon sorbent. The adsorbate goes through a desorption cycle to release purified gaseous carbon dioxide from the surface of the activated carbon. The gas is compressed for storage and off-site transport.
The exhibition "Heavenly Bodies: Fashion and the Catholic Imagination," staged by the Metropolitan Museum of Art and Fashion Institute, showcased a fusion of Catholic iconography with contemporary fashion. The exhibition served as an immersive experience within the Met Cloisters, blending architecture, artworks, and garments to elevate clothing to the status of art. Attire was transformed into an earnest expression of spirituality and cultural identity through thematic organization. "Heavenly Bodies: Fashion and the Catholic Imagination" exemplifies the potential of fashion as a medium for artistic exploration and cultural discourse, challenging conventional perceptions and redefining boundaries between art and apparel.
This is a project thesis about exploring how can vacant lots, open spaces, streetscapes and building surfaces use green design to provide gathering spaces, healthy green spaces and street safety for lower price hill neighborhood.
Abstract
The current infrastructure of horticulture in the United States of America, lacks BIPOC representation. The purpose of the review and research is to address the effects of white dominance in horticulture and combat the current system to create a more inclusive and welcoming environment for BIPOC in horticulture. By juxtaposing past, present, and future contributions to horticulture from BIPOC individuals to the current concepts exhibited in horticulture we observe 3 things: The contributions of BIPOC ideas to Horticulture, the current representation of BIPOC individuals in horticulture, and the theorized future with solutions applied. This research is based on existing diversity equity and inclusion research seen in other fields, which theoretically will apply in the same context with horticulture. Under this assumption, it can be understood that horticulture is not the sole perpetrator in non-inclusive work environments for BIPOC but is rather a subcategory of the many organizations and communities within the United States that are systemically oppressive to BIPOC.
Keywords: [BIPOC, horticulture, diversity in horticulture, inclusion in horticulture, colonization, culture, anti-racism, equity, colonialism]
Abstract
The current infrastructure of horticulture in the United States of America, lacks BIPOC representation. The purpose of the review and research is to address the effects of white dominance in horticulture and combat the current system to create a more inclusive and welcoming environment for BIPOC in horticulture. By juxtaposing past, present, and future contributions to horticulture from BIPOC individuals to the current concepts exhibited in horticulture we observe 3 things: The contributions of BIPOC ideas to Horticulture, the current representation of BIPOC individuals in horticulture, and the theorized future with solutions applied. This research is based on existing diversity equity and inclusion research seen in other fields, which theoretically will apply in the same context with horticulture. Under this assumption, it can be understood that horticulture is not the sole perpetrator in non-inclusive work environments for BIPOC but is rather a subcategory of the many organizations and communities within the United States that are systemically oppressive to BIPOC.
Keywords: [BIPOC, horticulture, diversity in horticulture, inclusion in horticulture, colonization, culture, anti-racism, equity, colonialism]
Cincinnati has dealt with the effects of combined sewer overflows for decades. Although overflow levels are steadily improving, there is still more to be done. Since 2002, the city has been attempting to renovate their old system to meet the Environmental Protection Agency’s Clean Water Act. This has proved extremely costly and difficult to complete with over 3,000 miles of public sewers with the antiquated combined sewer overflow system. Green roofs have become a proven tool in reducing combined sewer overflows. This project aims to explain how a municipal sewer district can promote the reduction of stormwater runoff through native plant landscaping and green roof education.
In 2010, the Metropolitan Sewer District, the agency responsible for waste water treatment in the Greater Cincinnati area, installed a green roof on one of their Mill Creek Plant buildings, however, it has been neglected and is not reaching its full potential. Through research on green roof’s effects on combined sewer overflow, an improved green roof design, and educational signage this study aims to create an educational, visually pleasing, native focused, and functional green roof that still allows employees ease of access to necessary equipment. MSD can encourage an increase of green roofs throughout the city and this study creates a comprehensive plan to use green roofs as a promotional tool.
This research investigates the effects of gardening and interaction with plants in the development of children's intellectual and developmental skills, specifically inclusive of children with cognitive and/or physical disabilities. The project dives further into the inclusivity of accessible features for children in playground and naturescape design. Drawing inspiration from Ballam Bumps, Arlitt Children’s Garden, and Els Sensory Art Garden; it is important to understand the value of high-intensity areas and low-intensity areas, as well as design that is versatile to a broad spectrum of ages. Children should form these relationships with plants from an early age, and the proposed design reflects the different learning styles/abilities of children with differing sensory needs. All of the listed elements are incorporated and considered when redesigning the Boone County Arboretum’s Children’s Garden, and shown through a series of designs, inventory & analysis.
This research investigates the effects of gardening and interaction with plants in the development of children's intellectual and developmental skills, specifically inclusive of children with cognitive and/or physical disabilities. The project dives further into the inclusivity of accessible features for children in playground and naturescape design. Drawing inspiration from Ballam Bumps, Arlitt Children’s Garden, and Els Sensory Art Garden; it is important to understand the value of high-intensity areas and low-intensity areas, as well as design that is versatile to a broad spectrum of ages. Children should form these relationships with plants from an early age, and the proposed design reflects the different learning styles/abilities of children with differing sensory needs. All of the listed elements are incorporated and considered when redesigning the Boone County Arboretum’s Children’s Garden, and shown through a series of designs, inventory & analysis.
The key to the future is in the past! Exploring methods of food production for Cincinnati in 2050 by combining horticulture practices of the past with modern technology to create a better future. For centuries humans have been taking nutrients from the earth and giving very little back in return (Oregon State Agricultural Extension Service). To avoid going too far down this detrimental path, we need to implement restorative agriculture methods that replenish the ground. By doing so, we give the Cincinnati of 2050 a better future; a future composed of healthy, happy residents who have access to responsibly cultivated food, land that is less susceptible to flooding and landslides, and a population that takes responsibility and stewardship of the natural environment. Humans are a keystone species and as such we play an integral part in how the ecosystem functions, for better or for worse. There is much wisdom to be learned from Native Americans and their millennia of horticulture practices. By implementing strategies like a city-wide composting network, hillside terraced gardens, urban food forests, and underground hydroponics, Cincinnati can reduce food waste, mitigate climate change, increase equitable access to healthy food, and educate its residents on how to be environmental stewards.
Senior Capstone that goes through the planning process of revitalizing and repurposing old, vacant commercial strip malls and turn them into a new source of urban living.
