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.
Forensic science is tasked with using calculative thinking with scientifically accepted methods of measurement and detection as well as the meditative task of applying their data to messy, real-world events. In order to support my supposition of forensic scientists being hermeneutical workers, three paintings were created. The three paintings can be considered a tryptic of sorts due to the context in which they are presented: forensic science. They each tell a story that is weaved within each other – spatter indicating violence long past, the empty void of a body gone, and the cold decomposition of a victim found. It is the forensic scientist that must interpret each piece separately and is tasked with finding how and why they are put together. The hermeneutical work of the forensic scientist interpreting a crime scene uses the same methods as one who interprets text. A forensic scientist opens possibilities of meaning in the same way that Martin Heidegger’s hermeneutic circle does. There is interplay between the interpreter (the forensic scientist) and the text (the crime scene), questions are formed (what happened here?) and responses are made (evidence found at the scene). This question and response outlook is what make the forensic scientist a hermeneutic thinker.
Despite the consistent coverage of death on a large scale, the average person is not often exposed to death on a personal level in this day and age. The deaths we see on television or in the movies are not typically connected to people with whom we are attached and so we are not required to work through our emotional response and experience. We are afforded the space to be a casual observer in most of the deaths that we see—we do not need the emotional and mental tools to cope with death on a personal level. While this distance from death may be true of the American whole, it is not entirely generalizable. Professionals in select fields are required to deal with death on a much more regular basis than the average person, including, but not limited to, healthcare and forensic professionals. In these professions, death is a fundamental aspect of the job—either as an expected risk or a necessary precursor. These professionals deal intimately with death, its causes, and its effects on a regular basis because of their chose line of work and, in doing so, are regularly exposed to death and other trauma which has the potential to affect them on both a professional and personal level. In doing so, these professionals are required to, as scientists, analyze and record these experiences with death through the lens of objectivity. These professionals are expected to maintain a professional distance while also being required to give an empathetic response to other’s trauma. The potential effect of this secondary trauma on these professionals is only sharpened by the culture of machismo in these science-based fields that prevents many professionals from expressing emotions regarding their job and getting the social support they need from others within their community.