Part 1. Unsung Wisdom, Rebel Tech

"Water or More" immerses viewers in an evocative exploration of water's multifaceted essence, capturing its environmental relevance and poetic allure through two interconnected projects.

Upon entering, the gaze is drawn to a mesmerizing black curtain adorned with a series of digital illustrations. These striking visuals, born from my previous venture, "Water Portrait," fuse 3D-modeled human portraits with the fluidity of water. Augmented reality triggers intricate animations, revealing a profound commentary on environmental issues and our intricate relationship with this life-giving element.

Behind the enigmatic curtain lies an interactive installation, a space where ethereal water imagery materializes in real-time. Projected onto translucent screens, the watery vistas respond with grace and fluidity, mirroring the movements of viewers captured by the perceptive Kinect sensor. Engaging in this dialogue of motion and reflection, spectators become integral participants, co-creating an ever-evolving narrative in tandem with the aqueous imagery.

Expanding the artistic discourse, a harmonious collaboration with performing artist Courtney Liu unveils a visceral fusion of movement and water. As Courtney's captivating performance unfolds, her kinetic expressions intermingle with the responsive water imagery, forging an intricate tapestry of embodied poetics within the aqueous realm.

Through "Water or More," audiences are invited to embark on a transformative sensory journey, plumbing the depths of our connection to water and contemplating its ecological significance. With each step, the exhibition beckons viewers to surrender to the immersive realm of liquid poetry, where the interplay of visuals, motion, and human interaction crystallizes the intricate dance between art, environment, and our shared existence.

Artist: Mingyong Cheng, Performer: Courtney Liu, Technical Support: Zetao Yu, Special Thanks to MFA in Experimental and Documentary Arts Program and Rubenstein Arts Center at Duke

Trees are communicating and sharing information right under your feet, using a mycelium network: a complex and collaborative structure that has become known as the "Wood Wide Web." Trees use the mycelium as pathways to connect, feed, and communicate with one another. Parent trees can identify their relatives and send signals and nutrition through mycelium networks. Through the mycelium network, the forest becomes a single organism with group intelligence.

Symbiosis is an exploration of the language of trees from a non-anthropocentric perspective, and mycelium is a design collaborator. Five handmade bio-electrical sensors are placed at different locations in Epping Forest, transmitting data on the mycelium's vital activity (electrical signals) in real time to the exhibition space via a cloud-based network. This is an immersive audio-visual experience; the changing soundscape represents the whisper of the mycelium, and the flowing light presents the nutrient transport between the mycelium. In this project, we hope the audience understands the world from the perspective of the rhizome, has a dialogue with the forest, and lives in symbiosis with nature.

This film weaves together journal entries, lab experiments, performance documentation, and guided meditation to contemplate our entangled relationships with non-human others.

Collaborators: Ishraki Kazi (Artist, Performer, Videographer, and Voice Over), Weihan Jiang (Cinematographer and Editor), Anna Romanov (Scientific Collaborator, Voice over and Writer), Eric Stapleton (Sound Mixer), Participants (Ganit, Emily, Junha, and Cassie)

 A small group of self-organized technical naturalists began to conduct self-motivated research experiments for grass-based scientific literature. They constructed a series of devices, like the Grass Footprint Calculator, to collect and analyze the chemical vocabulary of damaged grass. They would be seen during the sunny hours of the day, walking across stretches of grass with their specialized equipment. These scientific pilgrimages work to increase the accuracy of urban smog emission statistics. As the devices evolved, the community of grass listeners created more devices, like the Shoe B.03, Face M.45, Udd.04, Red S.11, and many more, to tune into the various languages of the grass.

 A small group of self-organized technical naturalists began to conduct self-motivated research experiments for grass-based scientific literature. They constructed a series of devices, like the Grass Footprint Calculator, to collect and analyze the chemical vocabulary of damaged grass. They would be seen during the sunny hours of the day, walking across stretches of grass with their specialized equipment. These scientific pilgrimages work to increase the accuracy of urban smog emission statistics. As the devices evolved, the community of grass listeners created more devices, like the Shoe B.03, Face M.45, Udd.04, Red S.11, and many more, to tune into the various languages of the grass.

 A small group of self-organized technical naturalists began to conduct self-motivated research experiments for grass-based scientific literature. They constructed a series of devices, like the Grass Footprint Calculator, to collect and analyze the chemical vocabulary of damaged grass. They would be seen during the sunny hours of the day, walking across stretches of grass with their specialized equipment. These scientific pilgrimages work to increase the accuracy of urban smog emission statistics. As the devices evolved, the community of grass listeners created more devices, like the Shoe B.03, Face M.45, Udd.04, Red S.11, and many more, to tune into the various languages of the grass.

 A small group of self-organized technical naturalists began to conduct self-motivated research experiments for grass-based scientific literature. They constructed a series of devices, like the Grass Footprint Calculator, to collect and analyze the chemical vocabulary of damaged grass. They would be seen during the sunny hours of the day, walking across stretches of grass with their specialized equipment. These scientific pilgrimages work to increase the accuracy of urban smog emission statistics. As the devices evolved, the community of grass listeners created more devices, like the Shoe B.03, Face M.45, Udd.04, Red S.11, and many more, to tune into the various languages of the grass.

Tyrian purple is believed to be the earliest purple dye.

It was first manufactured by the Phoenicians in the 16th century BCE using sea snails. It is a color so expensive it had previously only been afforded by royalty and the church.

It takes 2500 Murex sea snails to create 1 gram of the original Tyrian purple pigment. Tyrian purple dye was literally worth more than its weight in gold.

William Henry Perkin, a young London chemist, patented a synthesis in 1856 for a purple dye he created by accident whilst trying to synthesize quinine, a Victorian anti-malarial.

William’s discovery brought purple, a dye of historic significance, to the mass-market.

6,6’-Dibromoindigo is biologically synthesized by Murex and the bromine comes from bromide salt in sea water.

Tyrian purple. HEX Code #66023C.

The Dosa, a traditional Indian dish beloved for its delicate and crispy texture, is notoriously difficult to transport due to its fragility. This machine finally puts a long Dosa on the menu for an outdoor picnic. 

This is documentation of transporting a special order Dosa from Saravanah Bhavan, New York, to a picnic spot in Madison Square Park.

Featured in the Film:
Tarshaa Krishnaraj, Krithi Nalla, Tanvi Mishra

The Dosa, a traditional Indian dish beloved for its delicate and crispy texture, is notoriously difficult to transport due to its fragility. This machine finally puts a long Dosa on the menu for an outdoor picnic. 

A layer of banana leaves is used inside the heated chamber to provide a hygienic and traditional eating surface. The bulged ends can store up to 3 liters of sambar and chutney. The machine opens up to a mini table to enjoy the 32” long dosa in the desired picnic location.

Datasets were collected from different kinds of images of pigs online and terms for pigs in different languages. Those images online have been selected and filtered many times by human desire and intention. In the experiment, the algorithm creates new images and new script and characters for pigs. Similar to LGM (lab-grown meat), it was created by technology without the presence of any animals, and it separates the concept of the pig from the context of meat. This work discusses the physical erasure of pigs and their absence in our psychological minds.

Datasets were collected from different kinds of images of pigs online and terms for pigs in different languages. Those images online have been selected and filtered many times by human desire and intention. In the experiment, the algorithm creates new images and new script and characters for pigs. Similar to LGM (lab-grown meat), it was created by technology without the presence of any animals, and it separates the concept of the pig from the context of meat. This work discusses the physical erasure of pigs and their absence in our psychological minds.

Datasets were collected from different kinds of images of pigs online and terms for pigs in different languages. Those images online have been selected and filtered many times by human desire and intention. In the experiment, the algorithm creates new images and new script and characters for pigs. Similar to LGM (lab-grown meat), it was created by technology without the presence of any animals, and it separates the concept of the pig from the context of meat. This work discusses the physical erasure of pigs and their absence in our psychological minds.

Datasets were collected from different kinds of images of pigs online and terms for pigs in different languages. Those images online have been selected and filtered many times by human desire and intention. In the experiment, the algorithm creates new images and new script and characters for pigs. Similar to LGM (lab-grown meat), it was created by technology without the presence of any animals, and it separates the concept of the pig from the context of meat. This work discusses the physical erasure of pigs and their absence in our psychological minds.

Datasets were collected from different kinds of images of pigs online and terms for pigs in different languages. Those images online have been selected and filtered many times by human desire and intention. In the experiment, the algorithm creates new images and new script and characters for pigs. Similar to LGM (lab-grown meat), it was created by technology without the presence of any animals, and it separates the concept of the pig from the context of meat. This work discusses the physical erasure of pigs and their absence in our psychological minds.

Datasets were collected from different kinds of images of pigs online and terms for pigs in different languages. Those images online have been selected and filtered many times by human desire and intention. In the experiment, the algorithm creates new images and new script and characters for pigs. Similar to LGM (lab-grown meat), it was created by technology without the presence of any animals, and it separates the concept of the pig from the context of meat. This work discusses the physical erasure of pigs and their absence in our psychological minds.

In 19th-century China, the experience of being a woman was marked by oppressive practices. The patriarchal society systematically denied girls the educational opportunities afforded to their male counterparts. In response to this gendered oppression, women in Jiangyong Province devised a subversive act of linguistic creation: Nüshu. This unique script, developed exclusively by and for women, served as a clandestine medium of communication, passed down through generations from mothers to daughters.

The "Book of Secrets" delves into the origins and significance of Nüshu, presenting its history on side A of the book. Side B showcases an avant-garde, English-language typographic design inspired by Nüshu, embodying a fusion of ancient tradition and contemporary aesthetic. This type design can be explored further at https://www.gjzone.me/nushu-type. Reflecting the secretive nature of Nüshu, often inscribed within the hidden spaces of a fan, the book's binding itself mimics a fan's unfolding structure, symbolizing the unfolding of hidden narratives and silenced voices.

The secrets is about to unveil. Figure out the right words written in the new type. The hint on the left up corner is the meaning of the word, and hint on the right down corner is the numbers of letters it contains.

The secrets is about to unveil. Figure out the right words written in the new type. The hint on the left up corner is the meaning of the word, and hint on the right down corner is the numbers of letters it contains.

In 19th-century China, the experience of being a woman was marked by oppressive practices. The patriarchal society systematically denied girls the educational opportunities afforded to their male counterparts. In response to this gendered oppression, women in Jiangyong Province devised a subversive act of linguistic creation: Nüshu. This unique script, developed exclusively by and for women, served as a clandestine medium of communication, passed down through generations from mothers to daughters.

The  delves into the origins and significance of Nüshu, presenting its history on side A of the book. Side B showcases an avant-garde, English-language typographic design inspired by Nüshu, embodying a fusion of ancient tradition and contemporary aesthetic. This type design can be explored further at https://www.gjzone.me/nushu-type. Reflecting the secretive nature of Nüshu, often inscribed within the hidden spaces of a fan, the book's binding itself mimics a fan's unfolding structure, symbolizing the unfolding of hidden narratives and silenced voices.

The secrets is about to unveil. Figure out the right words written in the new type. The hint on the left up corner is the meaning of the word, and hint on the right down corner is the numbers of letters it contains.

The secrets is about to unveil. Figure out the right words written in the new type. The hint on the left up corner is the meaning of the word, and hint on the right down corner is the numbers of letters it contains.

In 19th-century China, the experience of being a woman was marked by oppressive practices. The patriarchal society systematically denied girls the educational opportunities afforded to their male counterparts. In response to this gendered oppression, women in Jiangyong Province devised a subversive act of linguistic creation: Nüshu. This unique script, developed exclusively by and for women, served as a clandestine medium of communication, passed down through generations from mothers to daughters.

The  delves into the origins and significance of Nüshu, presenting its history on side A of the book. Side B showcases an avant-garde, English-language typographic design inspired by Nüshu, embodying a fusion of ancient tradition and contemporary aesthetic. This type design can be explored further at https://www.gjzone.me/nushu-type. Reflecting the secretive nature of Nüshu, often inscribed within the hidden spaces of a fan, the book's binding itself mimics a fan's unfolding structure, symbolizing the unfolding of hidden narratives and silenced voices.

The secrets is about to unveil. Figure out the right words written in the new type. The hint on the left up corner is the meaning of the word, and hint on the right down corner is the numbers of letters it contains.

---

In 19th-century China, the experience of being a woman was marked by oppressive practices. The patriarchal society systematically denied girls the educational opportunities afforded to their male counterparts. In response to this gendered oppression, women in Jiangyong Province devised a subversive act of linguistic creation: Nüshu. This unique script, developed exclusively by and for women, served as a clandestine medium of communication, passed down through generations from mothers to daughters.

The "Book of Secrets" delves into the origins and significance of Nüshu, presenting its history on side A of the book. Side B showcases an avant-garde, English-language typographic design inspired by Nüshu, embodying a fusion of ancient tradition and contemporary aesthetic. This type design can be explored further at https://www.gjzone.me/nushu-type. Reflecting the secretive nature of Nüshu, often inscribed within the hidden spaces of a fan, the book's binding itself mimics a fan's unfolding structure, symbolizing the unfolding of hidden narratives and silenced voices.

The secrets is about to unveil. Figure out the right words written in the new type. The hint on the left up corner is the meaning of the word, and hint on the right down corner is the numbers of letters it contains.

---

In 19th-century China, the experience of being a woman was marked by oppressive practices. The patriarchal society systematically denied girls the educational opportunities afforded to their male counterparts. In response to this gendered oppression, women in Jiangyong Province devised a subversive act of linguistic creation: Nüshu. This unique script, developed exclusively by and for women, served as a clandestine medium of communication, passed down through generations from mothers to daughters.

The "Book of Secrets" delves into the origins and significance of Nüshu, presenting its history on side A of the book. Side B showcases an avant-garde, English-language typographic design inspired by Nüshu, embodying a fusion of ancient tradition and contemporary aesthetic. This type design can be explored further at https://www.gjzone.me/nushu-type. Reflecting the secretive nature of Nüshu, often inscribed within the hidden spaces of a fan, the book's binding itself mimics a fan's unfolding structure, symbolizing the unfolding of hidden narratives and silenced voices.

The secrets is about to unveil. Figure out the right words written in the new type. The hint on the left up corner is the meaning of the word, and hint on the right down corner is the numbers of letters it contains.

---

In 19th-century China, the experience of being a woman was marked by oppressive practices. The patriarchal society systematically denied girls the educational opportunities afforded to their male counterparts. In response to this gendered oppression, women in Jiangyong Province devised a subversive act of linguistic creation: Nüshu. This unique script, developed exclusively by and for women, served as a clandestine medium of communication, passed down through generations from mothers to daughters.

The "Book of Secrets" delves into the origins and significance of Nüshu, presenting its history on side A of the book. Side B showcases an avant-garde, English-language typographic design inspired by Nüshu, embodying a fusion of ancient tradition and contemporary aesthetic. This type design can be explored further at https://www.gjzone.me/nushu-type. Reflecting the secretive nature of Nüshu, often inscribed within the hidden spaces of a fan, the book's binding itself mimics a fan's unfolding structure, symbolizing the unfolding of hidden narratives and silenced voices.

Moving to the United States from Iran as a recent immigrant, especially in the current political malaise, has shaped my experience of understanding "difference" in significant ways. Differences can cause "othering," especially in situations where certain races, gender, or nationality of humans are treated as "less than" by political and social systems that oppress them. As immigrants and/or people of color, these systems are embedded and influential in our daily lives in ways that are often invisible and unnoticed to those who don’t experience the same kind of ‘otherness’ and injustice because of their nationality or color of skin.

Through the use of typography and artificial intelligence, Homeland aims to examine concepts such as belonging, othering/feeling ‘othered’, and the invasion of privacy (one of the most common experiences of an immigrant before and after being granted any sort of visa to enter the U.S.). Homeland uses personal storytelling and poetic speculations to challenge the assumed, invisible, or often unspoken struggles that one can encounter when entering spaces and experiences that are not designed or built for them (the immigrants/POC in this case). Through reverse engineering and the shifting of these power dynamics, this work walks the audience through a series of experiences, each designed as a way to communicate a specific emotion or story. How can we fill in gaps without being obsessed with one apparent idea, which is "bridging" as a connecting point? My goal is to fill in gaps by honoring "differences," perhaps through a method that is more of building a tunnel; while giving the audience the choice for participation or denial as they enter the space.

"This would not have been possible without the generous support of my friends and colleagues Morehshin Allahyari, Fatemeh Ekhtesari, Seyed Hamid Hoseini, Seyed Mehdi Hoseini and Narjes Shateri."

Moving to the United States from Iran as a recent immigrant, especially in the current political malaise, has shaped my experience of understanding "difference" in significant ways. Differences can cause "othering," especially in situations where certain races, gender, or nationality of humans are treated as "less than" by political and social systems that oppress them. As immigrants and/or people of color, these systems are embedded and influential in our daily lives in ways that are often invisible and unnoticed to those who don’t experience the same kind of ‘otherness’ and injustice because of their nationality or color of skin.

Through the use of typography and artificial intelligence, Homeland aims to examine concepts such as belonging, othering/feeling ‘othered’, and the invasion of privacy (one of the most common experiences of an immigrant before and after being granted any sort of visa to enter the U.S.). Homeland uses personal storytelling and poetic speculations to challenge the assumed, invisible, or often unspoken struggles that one can encounter when entering spaces and experiences that are not designed or built for them (the immigrants/POC in this case). Through reverse engineering and the shifting of these power dynamics, this work walks the audience through a series of experiences, each designed as a way to communicate a specific emotion or story. How can we fill in gaps without being obsessed with one apparent idea, which is "bridging" as a connecting point? My goal is to fill in gaps by honoring "differences," perhaps through a method that is more of building a tunnel; while giving the audience the choice for participation or denial as they enter the space.

"This would not have been possible without the generous support of my friends and colleagues Morehshin Allahyari, Fatemeh Ekhtesari, Seyed Hamid Hoseini, Seyed Mehdi Hoseini and Narjes Shateri."

Moving to the United States from Iran as a recent immigrant, especially in the current political malaise, has shaped my experience of understanding "difference" in significant ways. Differences can cause "othering," especially in situations where certain races, gender, or nationality of humans are treated as "less than" by political and social systems that oppress them. As immigrants and/or people of color, these systems are embedded and influential in our daily lives in ways that are often invisible and unnoticed to those who don’t experience the same kind of ‘otherness’ and injustice because of their nationality or color of skin.

Through the use of typography and artificial intelligence, Homeland aims to examine concepts such as belonging, othering/feeling ‘othered’, and the invasion of privacy (one of the most common experiences of an immigrant before and after being granted any sort of visa to enter the U.S.). Homeland uses personal storytelling and poetic speculations to challenge the assumed, invisible, or often unspoken struggles that one can encounter when entering spaces and experiences that are not designed or built for them (the immigrants/POC in this case). Through reverse engineering and the shifting of these power dynamics, this work walks the audience through a series of experiences, each designed as a way to communicate a specific emotion or story. How can we fill in gaps without being obsessed with one apparent idea, which is "bridging" as a connecting point? My goal is to fill in gaps by honoring "differences," perhaps through a method that is more of building a tunnel; while giving the audience the choice for participation or denial as they enter the space.

"This would not have been possible without the generous support of my friends and colleagues Morehshin Allahyari, Fatemeh Ekhtesari, Seyed Hamid Hoseini, Seyed Mehdi Hoseini and Narjes Shateri."

Moving to the United States from Iran as a recent immigrant, especially in the current political malaise, has shaped my experience of understanding "difference" in significant ways. Differences can cause "othering," especially in situations where certain races, gender, or nationality of humans are treated as "less than" by political and social systems that oppress them. As immigrants and/or people of color, these systems are embedded and influential in our daily lives in ways that are often invisible and unnoticed to those who don’t experience the same kind of ‘otherness’ and injustice because of their nationality or color of skin.

Through the use of typography and artificial intelligence, Homeland aims to examine concepts such as belonging, othering/feeling ‘othered’, and the invasion of privacy (one of the most common experiences of an immigrant before and after being granted any sort of visa to enter the U.S.). Homeland uses personal storytelling and poetic speculations to challenge the assumed, invisible, or often unspoken struggles that one can encounter when entering spaces and experiences that are not designed or built for them (the immigrants/POC in this case). Through reverse engineering and the shifting of these power dynamics, this work walks the audience through a series of experiences, each designed as a way to communicate a specific emotion or story. How can we fill in gaps without being obsessed with one apparent idea, which is "bridging" as a connecting point? My goal is to fill in gaps by honoring "differences," perhaps through a method that is more of building a tunnel; while giving the audience the choice for participation or denial as they enter the space.

"This would not have been possible without the generous support of my friends and colleagues Morehshin Allahyari, Fatemeh Ekhtesari, Seyed Hamid Hoseini, Seyed Mehdi Hoseini and Narjes Shateri."

Moving to the United States from Iran as a recent immigrant, especially in the current political malaise, has shaped my experience of understanding "difference" in significant ways. Differences can cause "othering," especially in situations where certain races, gender, or nationality of humans are treated as "less than" by political and social systems that oppress them. As immigrants and/or people of color, these systems are embedded and influential in our daily lives in ways that are often invisible and unnoticed to those who don’t experience the same kind of ‘otherness’ and injustice because of their nationality or color of skin.

Through the use of typography and artificial intelligence, Homeland aims to examine concepts such as belonging, othering/feeling ‘othered’, and the invasion of privacy (one of the most common experiences of an immigrant before and after being granted any sort of visa to enter the U.S.). Homeland uses personal storytelling and poetic speculations to challenge the assumed, invisible, or often unspoken struggles that one can encounter when entering spaces and experiences that are not designed or built for them (the immigrants/POC in this case). Through reverse engineering and the shifting of these power dynamics, this work walks the audience through a series of experiences, each designed as a way to communicate a specific emotion or story. How can we fill in gaps without being obsessed with one apparent idea, which is "bridging" as a connecting point? My goal is to fill in gaps by honoring "differences," perhaps through a method that is more of building a tunnel; while giving the audience the choice for participation or denial as they enter the space.

"This would not have been possible without the generous support of my friends and colleagues Morehshin Allahyari, Fatemeh Ekhtesari, Seyed Hamid Hoseini, Seyed Mehdi Hoseini and Narjes Shateri."

Moving to the United States from Iran as a recent immigrant, especially in the current political malaise, has shaped my experience of understanding "difference" in significant ways. Differences can cause "othering," especially in situations where certain races, gender, or nationality of humans are treated as "less than" by political and social systems that oppress them. As immigrants and/or people of color, these systems are embedded and influential in our daily lives in ways that are often invisible and unnoticed to those who don’t experience the same kind of ‘otherness’ and injustice because of their nationality or color of skin.

Through the use of typography and artificial intelligence, Homeland aims to examine concepts such as belonging, othering/feeling ‘othered’, and the invasion of privacy (one of the most common experiences of an immigrant before and after being granted any sort of visa to enter the U.S.). Homeland uses personal storytelling and poetic speculations to challenge the assumed, invisible, or often unspoken struggles that one can encounter when entering spaces and experiences that are not designed or built for them (the immigrants/POC in this case). Through reverse engineering and the shifting of these power dynamics, this work walks the audience through a series of experiences, each designed as a way to communicate a specific emotion or story. How can we fill in gaps without being obsessed with one apparent idea, which is "bridging" as a connecting point? My goal is to fill in gaps by honoring "differences," perhaps through a method that is more of building a tunnel; while giving the audience the choice for participation or denial as they enter the space.

"This would not have been possible without the generous support of my friends and colleagues Morehshin Allahyari, Fatemeh Ekhtesari, Seyed Hamid Hoseini, Seyed Mehdi Hoseini and Narjes Shateri."

Moving to the United States from Iran as a recent immigrant, especially in the current political malaise, has shaped my experience of understanding "difference" in significant ways. Differences can cause "othering," especially in situations where certain races, gender, or nationality of humans are treated as "less than" by political and social systems that oppress them. As immigrants and/or people of color, these systems are embedded and influential in our daily lives in ways that are often invisible and unnoticed to those who don’t experience the same kind of ‘otherness’ and injustice because of their nationality or color of skin.

Through the use of typography and artificial intelligence, Homeland aims to examine concepts such as belonging, othering/feeling ‘othered’, and the invasion of privacy (one of the most common experiences of an immigrant before and after being granted any sort of visa to enter the U.S.). Homeland uses personal storytelling and poetic speculations to challenge the assumed, invisible, or often unspoken struggles that one can encounter when entering spaces and experiences that are not designed or built for them (the immigrants/POC in this case). Through reverse engineering and the shifting of these power dynamics, this work walks the audience through a series of experiences, each designed as a way to communicate a specific emotion or story. How can we fill in gaps without being obsessed with one apparent idea, which is "bridging" as a connecting point? My goal is to fill in gaps by honoring "differences," perhaps through a method that is more of building a tunnel; while giving the audience the choice for participation or denial as they enter the space.

"This would not have been possible without the generous support of my friends and colleagues Morehshin Allahyari, Fatemeh Ekhtesari, Seyed Hamid Hoseini, Seyed Mehdi Hoseini and Narjes Shateri."