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.
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- Creators: School of Art
Description
The Constructivists were a prominent group of Avant Garde artists that began to work in the years preceding the Bolshevik revolution and continued to work prominently until Stalin came to power. As other Avant Garde movements became prevalent throughout Europe, Constructivism became the Modernist movement that encapsulated Russia’s Socialist future. Constructivist artist-workers embraced the idea that objects of art must be useful in the daily life of a Soviet worker as well as representative of the future for which communists were working. As such, they aligned with the new national ideals aesthetically by illustrating national and political goals in a functional way. Constructivists wanted to create objects that would signify and enable future Soviet life through their usefulness and their ideological intensity. This thesis argues that Constructivist objects served a third purpose as productive agents of community.
Each chapter of this thesis closely studies a different object of a different medium to trace relationships between Constructivist objects and Soviet community. El Lissitzky’s PROUN Manifesto illuminates the creation of an artistic community. Alexander Rodchenko’s print Propaganda communicates between a state and its people. Varvara Stepanova’s Sportswear designs facilitate a society of workers. Alexandra Exter’s Marionettes combine common everyday objects and children’s theater. Vladimir Tatlin’s Monument to the Third International, envisions the ideal Soviet society as place in which socialists could convene. And Liubov Popova’s Painterly Architectonics relates the functional and aesthetic goals of Constructivism from Russia to the international art world. Benedict Anderson’s Imagined Communities, Bruno Latour’s Reassembling the Social, and Pierre Bourdieu’s Distinction each provide the framework for discussing the intersections of art objects and community. Anderson explores nationhood through the lens of language and print media, Latour studies how social interaction on an individual basis might rely upon the physical objects around them, whereas Bourdieu addresses hierarchies in distinguishing objects of art in class-based societies by outlining the conflicts between cultural capital and tastemaking in the analysis of objects.
Through the exploration of each Constructivist object, this thesis explores individual, national, and international communities while considering their changing political, social contexts.
Each chapter of this thesis closely studies a different object of a different medium to trace relationships between Constructivist objects and Soviet community. El Lissitzky’s PROUN Manifesto illuminates the creation of an artistic community. Alexander Rodchenko’s print Propaganda communicates between a state and its people. Varvara Stepanova’s Sportswear designs facilitate a society of workers. Alexandra Exter’s Marionettes combine common everyday objects and children’s theater. Vladimir Tatlin’s Monument to the Third International, envisions the ideal Soviet society as place in which socialists could convene. And Liubov Popova’s Painterly Architectonics relates the functional and aesthetic goals of Constructivism from Russia to the international art world. Benedict Anderson’s Imagined Communities, Bruno Latour’s Reassembling the Social, and Pierre Bourdieu’s Distinction each provide the framework for discussing the intersections of art objects and community. Anderson explores nationhood through the lens of language and print media, Latour studies how social interaction on an individual basis might rely upon the physical objects around them, whereas Bourdieu addresses hierarchies in distinguishing objects of art in class-based societies by outlining the conflicts between cultural capital and tastemaking in the analysis of objects.
Through the exploration of each Constructivist object, this thesis explores individual, national, and international communities while considering their changing political, social contexts.
ContributorsBrown, Theodora Circe (Author) / Hoogenboom, Hilde (Thesis director) / Hedberg Olenina, Ana (Committee member) / School of International Letters and Cultures (Contributor) / School of Art (Contributor) / School of Politics and Global Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The NASA Psyche Iron Meteorite Imaging System (IMIS) is a standalone system created to image metal meteorites from ASU’s Center for Meteorite Studies’ collection that have an etched surface. Meteorite scientists have difficulty obtaining true-to-life images of meteorites through traditional photography methods due to the meteorites’ shiny, irregular surfaces, which interferes with their ability to identify meteorites’ component materials through image analysis. Using the IMIS, scientists can easily and consistently obtain glare-free photographs of meteorite surface that are suitable for future use in an artificial intelligence-based meteorite component analysis system. The IMIS integrates a lighting system, a mounted camera, a sample positioning area, a meteorite leveling/positioning system, and a touch screen control panel featuring an interface that allows the user to see a preview of the image to be taken as well as an edge detection view, a glare detection view, a button that allows the user to remotely take the picture, and feedback if very high levels of glare are detected that may indicate a camera or positioning error. Initial research and design work were completed by the end of Fall semester, and Spring semester consisted of building and testing the system. The current system is fully functional, and photos taken by the current system have been approved by a meteorite expert and an AI expert. The funding for this project was tentatively capped at $1000 for miscellaneous expenses, not including a camera to be supplied by the School of Earth and Space Exploration. When SESE was unable to provide a camera, an additional $4000 were allotted for camera expenses. So far, $1935 of the total $5000 budget has been spent on the project, putting the project $3065 under budget. While this system is a functional prototype, future capstone projects may involve the help of industrial designers to improve the technician’s experience through automating the sample positioning process.
ContributorsBaerwaldt, Morgan Kathleen (Author) / Bowman, Cassie (Thesis director) / Kozicki, Michael (Committee member) / School of Art (Contributor) / Electrical Engineering Program (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2019-05