Barrett, The Honors College Thesis/Creative Project Collection

People have known about mass biodiversity loss and the human actions that drive it for decades now, and yet we have largely failed levels to change our behavior to protect the environment. What’s failing to motivate people to change? Some conservation psychologists have partially blamed the negative way we communicate about environmental issues for paralyzing audiences into doing nothing because they feel helpless to change such a big problem. Instead, many psychologists have called for using positive emotions in communication to motivate an audience, but there’s still little research showing whether that’s a more effective approach or not. To study whether positive or negative emotions are really more motivational for inspiring change, I looked at how different emotions were used in the discourse about an emerging conservation technology called de-extinction as a case study. De-extinction claims to be both a tool for fighting biodiversity loss and for inspiring more positive and inspiring narratives in conservation. In this thesis, I examine those claims by exploring five emotions that the discourse around de-extinction elicits: fear, guilt, grief, awe and hope. I examined the motivating power of those emotions and what kind of actions de-extinction discourse motivates or fails to motivate through the way it uses those emotions. I found that de-extinction discourse erases negative emotions and boosts positive ones as many conservation psychologists recommend. However, de-extinction discourse accomplishes this in misleading ways: it minimizes the sense of importance of ongoing extinctions by framing extinction as a reversible phenomenon, and it overstates the ability of technology alone to combat the extinction crisis without requiring societal change. As a result, de-extinction discourse could risk making the public less motivated to take personal action to forward conservation goals. I conclude that positivity or negativity should not be the central concerns for motivating action, but rather efficacy and honesty.

Exploration of a mouse model (C57BL/6J) capable of demonstrating behavioral changes after adolescent social isolation that are consistent with prior findings may prove beneficial in later research. This study examined 2 proposed long-term effects of isolated housing (one mouse/cage), when compared to group housing (two mice/cage) during adolescence. Mice were placed in their respective housing conditions after weaning (PND 21) and remained in those conditions until PND 60. The same cohorts were used in both phases of the experiment. Phase 1 sought to confirm previous findings that showed increases in ethanol intake after adolescent social isolation using a 2-bottle preference Drinking-in-the-Dark (DID) design over a 4-day period (PND 64-PND 67.). Phase 2 sought to elucidate the effects present after adolescent social isolation, as measured using response inhibition capabilities demonstrated during fixed-minimum interval (FMI) trials (PND 81-PND 111). Findings in phase 1 of the experiment were non-significant, save a strong tendency for female mice in both housing conditions to drink more as a proportion of their bodyweight (g/kg). However, a trend of lower bodyweight in single housed mice did exist, which does suggest that detrimental stress was applied via the used of adolescent isolation in that housing condition. Findings in phase 2 showed little effect of adolescent social isolation on mean inter-response time (IRT) at any criterion used (FMI-0, FMI-4, FMI-6). Evaluation of mean interquartile range (IQR) of IRTs showed a significantly greater amount of variation in IRT responses within single housed mice at the highest criterion (FMI-6), and a trend in the same direction when FMI-4 and FMI-6 were tested concurrently. Taken as a whole, the findings of this experiment suggest that the effect of adolescent social isolation on ethanol intake is far less robust than the effect of sex and may be difficult to replicate in a low-power study. Additionally, adolescent social isolation may interfere with the ability of mice to show consistent accuracy during FMI tasks or a delay in recognition of FMI criterion change.

For my project, I delve into the relationships of Victor and the Monster as well as the relationships Victor shares with other characters that were underdeveloped within the original novel by Mary Shelley in the novel Franeknstein. I examine their relationships in two components. The first through my own interpretation of Victor and the Monster’s relationship within a creative writing piece that extends the novel as if Victor had lived rather than died in the arctic in order to explore the possibilities of a more complex set of relationships between Victor and the Monster than simply creator-creation. My writing focuses on the development of their relationship once all they have left is each other. The second part of my project focuses on an analytical component. I analyze and cite the reasoning for my creative take on Victor and the Monster as well as their relationship within the novel and Mary Shelley’s intentions.

Midlife is a unique period of development during which individuals are simultaneously engaging in multiple roles. Despite this, there is a surprisingly small amount of research on this period of the life course. In order to examine sources of adversity during this period, we analyzed interviews with individuals in midlife about their greatest challenge. The most common themes for types of adversity included relationships, health, and work, reflecting the unique combination of roles in midlife.

500 Days of Summer, released in 2009 and written by Scott Neustadter and Michael H. Weber, is an American film told through the perspective of Tom Hansen, the male lead. It is a story that begins with a third-person narrator, explaining that “This is a story of boy meets girl.” The narration then finishes with a warning that “you should know up front, this is not a love story” (Neustadter & Weber, 2009). As the movie continues, however, it becomes increasingly challenging to believe this warning. Tom sees Summer Finn, falls in love, and their relationship ends with him broken-hearted. It is only natural for the audience to view it as a story of Tom’s failed love, and without a deeper analysis, to perceive Summer as the antagonist. <br/> This tendency to view the movie as a love story motivated me to question why the discrepancy between the beginning narration and the common audience perception occurs. My thesis addresses this discrepancy by focusing on the idea that the natural gravitation towards the belief that 500 Days of Summer is a love story exists due to the unreliable narration given by Tom Hansen throughout the movie. I wrote three songs, an interlude, a duet, and a solo, based on the themes and lead characters of the movie to help validate the warning provided in the beginning and provide a deeper insight into Summer’s version of the story.

When a sports performance is at its peak, it is akin to a musical performance in the sense that each player seems to perform their part effortlessly, creating a rhythmic flow of counterparts all moving as one. Rhythm and timing are vital elements in sports like basketball in which syncopated passing and shooting appear to facilitate accuracy. This study tests if shooting baskets “in rhythm,” as measured by the catch-to-release time, reliably enhances shooting accuracy. It then tests if an “in rhythm” timing is commonly detected and agreed upon by observers, and if observer timing ratings are related to shooting accuracy. Experiment 1 tests the shooting accuracy of two amateur basketball players after different delays between catching a pass and shooting the ball. Shots were taken from the three-point line (180 shots). All shots were recorded and analyzed for accuracy as a function of delay time, and the recordings were used to select stimuli varying in timing intervals for observers to view in Experiment 2. In Experiment 2, 24 observers each reviewed 17 video clips of the shots to test visual judgment of shooting-in-rhythm. The delay times ranged from 0.3 to 3.2 seconds, with a goal of having some of the shots taken too fast, some close to in rhythm, and some too slow. Observers rated if each shot occurs too fast, in rhythm slightly fast, in rhythm slightly slow, or too slow. In Experiment 1, shooters exhibited a significant cubic fit with better shooting performance in the middle of the timing distribution (1.2 sec optimal delay) between catching a pass and shooting. In Experiment, 2 observers reliably judged shots to be in rhythm centered at 1.1 ± 0.2 seconds, which matched the delay that leads to optimal performance for the shooters found in Experiment 1. The pattern of findings confirms and validates that there is a common “in rhythm” catch-to-shoot delay time of a little over 1 second that both optimizes shooter accuracy and is reliably recognized by observers.