Barrett, The Honors College Thesis/Creative Project Collection
Barrett, The Honors College at Arizona State University proudly showcases the work of undergraduate honors students by sharing this collection exclusively with the ASU community.
Barrett accepts high performing, academically engaged undergraduate students and works with them in collaboration with all of the other academic units at Arizona State University. All Barrett students complete a thesis or creative project which is an opportunity to explore an intellectual interest and produce an original piece of scholarly research. The thesis or creative project is supervised and defended in front of a faculty committee. Students are able to engage with professors who are nationally recognized in their fields and committed to working with honors students. Completing a Barrett thesis or creative project is an opportunity for undergraduate honors students to contribute to the ASU academic community in a meaningful way.
Displaying 1 - 3 of 3
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- All Subjects: conservation
- Creators: School of Art
Description
The purpose of this project was prove that animated characters have a unique appeal to the empathy of viewers, and to then create assets that could be used in an effective way to spread awareness about endangered species. I sought to explore in what ways animation connects to individuals, and how those connections can be used to create empathy towards endangered animal species. I created two surveys as a way of measuring the connections between participants and the elements of two videos about wildlife conservation; one animated and one live-action. After surveying over 130 people, I found that the video with animated animal characters evoked strong emotions from 82.5% of participants. This, combined with participant interest in other elements such as color and animated style, prompted me to create two animal characters that could be used for educational animated short films. I created character designs for a Galapagos penguin and a black-horned rhinoceros, 3D modeled environments, a storyboard and script for a short video featuring the rhinoceros, and a 3D model and animated walk-cycle for the penguin. These elements were created with the idea that they could be used in order to create educational animated videos about endangered species. The biggest takeaway from this project is that while the aesthetics and characters of animation are important to viewers, it is also important that they are able to learn not only about the endangered species, but how they can contribute to wildlife conservation.
ContributorsOlson, Grace Hannah (Author) / Button, Melissa M (Thesis director) / Cala, Coats (Committee member) / Division of Teacher Preparation (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
As general awareness and concern for environmental issues has increased over time, so has the growth of environmental artwork. Artworks in this genre have been used with the intent to motivate conservation action and environmental justice action, as well as spread broader environmental awareness. Different approaches to environmental messages may have varying impacts on viewers’ beliefs and attitudes related to the environment. Yet this topic is still not widely studied. Using a combination of survey and interview techniques, this thesis examines the intersection of art, ethics, and the environment by eliciting the reactions and responses of Arizona State University students to various environmental artworks. The study design presented groups of students with differing imagery, one set categorized as environmentally hopeful or positive, the other as environmentally gloomy or negative. The New Ecological Paradigm scale (NEP) was used as a measure for ethical views. After exposure to the artworks, students showed shifts in their NEP scores in both directions, and some had no change. Between positive and negative artworks, there was no significant difference in change in score on the NEP scale. The results of the thesis inspired a suggestion for a new scale to describe an emerging environmental ethic that is evidenced by the artworks, artists statements, and student reactions in this project: the Social And Ecological Paradigm (SAEP). The paradigm abbreviation includes the letter A to emphasize the importance of considering both the social and ecological implications of human activity. This mindset addresses environmental justice concerns, positive human interactions with the environment, and sustainable human communities. At the core, it is a basic human right to live in a healthy and safe environment, and a positive societal relationship with the environment is necessary to guarantee this right for all. Art is a way for people to connect with the environment and can give insight into the way society’s environmental ethic is ever shifting.
ContributorsCrawford-Paz Soldán, Elise (Author) / Minteer, Ben (Thesis director) / Sale, Gregory (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor) / School of Life Sciences (Contributor)
Created2022-05
Description
Only in recent decades have music libraries become more aware of the importance of preservation of musical scores and materials in their collections. It follows that the preservation goals in a library differ from those in a museum due to the specific purpose of the collecting institution. As a student of paper conservation in an art museum setting and a musician with classical training, I wanted to investigate the scope of art conservation as it applies to cultural heritage objects outside the realm of works of visual art in a museum—namely the musical scores and ephemera contained in the Bavicchi archive in the ASU Music Library Special Collections. The archive is a large, unexplored collection of materials pertaining to approximately ninety opuses composed by the teacher, conductor, and composer, John A. Bavicchi (1922-2012). These materials include final scores, drafts of scores, preliminary sketches, programs from performances, correspondence, news publications, publishing agreements, and financial records. Although these types of ephemera materials are transitory by nature and pose considerable problems for the institution responsible for their preservation, the goal of this project is to demonstrate the importance of preserving non-art objects related to non-visual artforms in a music library context, to show the value of musical ephemera in general, and to advocate for the care of the Bavicchi archive in particular. Using one Bavicchi composition, Opus 51, as a case study from which to develop a protocol for the preservation of the rest of the archive, I made an inventory of all seventy-four objects pertaining to Opus 51, executed and documented conservation treatment, and implemented proper housing for all objects. Making sure to consider how and where these archival materials are most likely to be used—for scholarly research in a music library—I established guidelines for evaluating condition and assigning treatment priority, provided descriptions of relevant remedial treatment procedures, and recommended rehousing and potential preservation practices. Additionally, I offered justification for my conservation work through the contextualization of the archival materials relating to Opus 51. I provided an initial musical analysis of the archival materials and compared the informational content of the Opus 51 ephemera to general information gathered from outside sources, with the intention of illustrating the need to preserve these materials in order to better understand Bavicchi’s compositional process and the public reception of his work.
ContributorsTuijl-Goode, Remi (Author) / Saucier, Catherine (Thesis director) / Mossman Tepper, Dana (Thesis director) / Mehrens, Christopher (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor) / School of Music, Dance and Theatre (Contributor) / School of Molecular Sciences (Contributor)
Created2022-12