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 Film, Dance and Theatre
Description
Every engineer is responsible for completing a capstone project as a culmination of accredited university learning to demonstrate technical knowledge and enhance interpersonal skills, like teamwork, communication, time management, and problem solving. This project, with three or four engineers working together in a group, emphasizes not only the importance of technical skills acquired through laboratory procedures and coursework, but the significance of soft skills as one transitions from a university to a professional workplace; it also enhances the understanding of an engineer's obligation to ethically improve society by harnessing technical knowledge to bring about change. The CC2541 Smart SensorTag is a device manufactured by Texas Instruments that focuses on the use of wireless sensors to create low energy applications, or apps; it is equipped with Bluetooth Smart, which enables it to communicate wirelessly with similar devices like smart phones and computers, assisting greatly in app development. The device contains six built-in sensors, which can be utilized to track and log personal data in real-time; these sensors include a gyroscope, accelerometer, humidifier, thermometer, barometer, and magnetometer. By combining the data obtained through the sensors with the ability to communicate wirelessly, the SensorTag can be used to develop apps in multiple fields, including fitness, recreation, health, safety, and more. Team SensorTag chose to focus on health and safety issues to complete its capstone project, creating applications intended for use by senior citizens who live alone or in assisted care homes. Using the SensorTag's ability to track multiple local variables, the team worked to collect data that verified the accuracy and quality of the sensors through repeated experimental trials. Once the sensors were tested, the team developed applications accessible via smart phones or computers to trigger an alarm and send an alert via vibration, e-mail, or Tweet if the SensorTag detects a fall. The fall detection service utilizes the accelerometer and gyroscope sensors with the hope that such a system will prevent severe injuries among the elderly, allow them to function more independently, and improve their quality of life, which is the obligation of engineers to better through their work.
ContributorsMartin, Katherine Julia (Author) / Thornton, Trevor (Thesis director) / Goryll, Michael (Committee member) / Electrical Engineering Program (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2015-12
Description
Personal experiences with body image dysmorphia and an eating disorder necessitated that I do a thorough investigation into why they happened and why I felt this way about my body. For this project, not only was I motivated by my own struggles, but I noticed that these experiences were shared among my family, my friends, and my fellow peers in the dance community. We had been struggling since childhood. I began to realize that these behaviors and thought patterns were manifestations of apology, an apology that women have been learning, living, and spreading since our beginnings. Why do women apologize? How does this apology affect how we view, treat, and navigate our bodies in space? In what ways can dance be the mechanism by which we remove apology and individually and collectively find joy, freedom, and liberation? Not only was I interested in understanding the ‘why’, but I was deeply interested in finding a solution. Research for this thesis came from written materials, stories that the dancers and I shared, and choreographic research in the body. The final goal was to create a community-based performance of dance, spoken word, and storytelling that demonstrated the findings from each of those questions and catalyzed a conversation about how we can liberate ourselves. We used rehearsals to explore our own experiences within apology and shame, while also exploring how the ways in which we practice being unapologetic in the dance space can translate to how we move through the world on a daily basis.
Through a deep analysis and application of Sonya Renee Taylor’s book The Body Is Not An Apology, I discovered that apology is learned. We learn how to apologize through body shame, the media, family/generational trauma, and government/law/policy. This apology is embodied through gestures, movement patterns, and postures, such as bowing the head, hunching the shoulders, and walking around others. Apology causes us to view our bodies as things to be manipulated, discarded, and embarrassed by. After recognizing why we apologize and how it affects our bodies, we can then begin to think of how to remove it. Because the body the site of the problem, it is also the site of the solution. Dance gives us an opportunity to deeply learn our bodies, to cultivate their power, and to heal from their traumas. By being together in community as women, we are able to feel seen and supported as we work through uncharted territory of being free from apology in these bodies. By dancing in ways that allow us to take up space, to be free, to be unapologetic, we use dance as a practice for life. Through transforming ourselves, we begin to transform the world and rewrite the narrative of how we exist in and move through our bodies as women.
Through a deep analysis and application of Sonya Renee Taylor’s book The Body Is Not An Apology, I discovered that apology is learned. We learn how to apologize through body shame, the media, family/generational trauma, and government/law/policy. This apology is embodied through gestures, movement patterns, and postures, such as bowing the head, hunching the shoulders, and walking around others. Apology causes us to view our bodies as things to be manipulated, discarded, and embarrassed by. After recognizing why we apologize and how it affects our bodies, we can then begin to think of how to remove it. Because the body the site of the problem, it is also the site of the solution. Dance gives us an opportunity to deeply learn our bodies, to cultivate their power, and to heal from their traumas. By being together in community as women, we are able to feel seen and supported as we work through uncharted territory of being free from apology in these bodies. By dancing in ways that allow us to take up space, to be free, to be unapologetic, we use dance as a practice for life. Through transforming ourselves, we begin to transform the world and rewrite the narrative of how we exist in and move through our bodies as women.
ContributorsWaller, Marguerite Lilith (Author) / Fitzgerald, Mary (Thesis director) / Britt, Melissa (Committee member) / Lerman, Liz (Committee member) / Dean, Herberger Institute for Design and the Arts (Contributor) / School of Film, Dance and Theatre (Contributor, Contributor) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05