Humans use emotions to communicate social cues to our peers on a daily basis. Are we able to identify context from facial expressions and match them to specific scenarios? This experiment found that people can effectively distinguish negative and positive emotions from each other from a short description. However, further research is needed to find out whether humans can learn to perceive emotions only from contextual explanations.

Since the inception of what is now known as the Behavioral Analysis Unit (BAU) at the Federal Bureau of Investigation (FBI) in the 1970s, criminal profiling has become an increasingly prevalent entity in both forensic science and the popular imagination. The fundamental idea of which profiling is premised – behavior as a reflection of personality – has been the subject of a great deal of misunderstanding, with professionals and nonprofessionals alike questioning whether profiling represents an art or a science and what its function in forensic science should be. To provide a more thorough understanding of criminal profiling’s capabilities and its efficacy as a law enforcement tool, this thesis will examine the application of criminal profiling to investigations, various court rulings concerning profiling’s admissibility, and the role that popular media plays in the perception and function of the practice. It will also discuss how future research and regulatory advancements may strengthen criminal profiling’s scientific merit and legitimacy.

For this Creative Project, I decided to explore the elements that set novellas apart from other genres and then experiment writing in the form. In doing so, I took into account three main categories: Plot Structure, Character Development, Style/Format, and then used my findings to write 45 pages of a novella titled Emmy and Me.

Filmmakers seek to create story pieces that are visually beautiful and engage the full attention of their audience. They typically abide by a 3-step process moving through pre-production, production, and post-production. Within each step, there are a series of tasks that need to be accomplished in order to reach the completed film. A successful film requires careful planning and strategy in pre-production, timely and decisive execution in production, and minimal unforeseen retouching in post-production.<br/><br/>Even though filmmakers have continued to follow the same formula throughout the decades, the filmmaking process has remained largely inefficient. It is extremely common for pre-production planning to be undercut, for production filming to run far too long, and for post-production VFX and editing to send the project over budget. These instances can cause major issues as the project is being finalized. In many scenarios portions of the project need to be reshot, the box office revenue isn’t enough to make up for extensive VFX retouching, or the project may never even come to fruition. <br/><br/>The reason for this recurring theme of films being over budget and out of time is quite simply that technology has made filmmakers lazy. “Fix it in post” is a disgustingly common phrase used in the film industry. It describes the utter abuse of computer retouching in the post-production phase of filmmaking. Despite working in an industry that seeks to entertain the human eye, filmmakers have become blind to all of the small mistakes that could cost them hundreds of hours and millions of dollars in the long run.

My project is designed to provide art education to incarcerated youth in Arizona. This project will address two current issues in Arizona; the underfunding of art programs and high rates of incarceration. As of 2021, there are no state-funded art programs in Arizona. Arizona is tied with Texas for the eighth highest rate of incarceration in the country. In Arizona, 750 out of every 100,000 people are incarcerated. This project is an art course for incarcerated youth. The project includes a packet detailing the course content and assignment details, a class syllabus, a course flyer, and a certificate of completion. The course is intended to be taught at the Adobe Mountain School facility. The course is designed so that it can be implemented in other facilities in the future. The class will be taught by volunteers with a background in studio art, design, or art education. Each student will receive a course packet that they can use to keep track of information and assignments. Instructors will use the course packet to teach the class. The course focuses on drawing with charcoal and oil pastel, which will build a foundation in drawing skills. The course covers a twelve-week semester. The course content packet includes a week-by-week breakdown of the teaching material and project descriptions. The course consists of two main projects and preparatory work. The preparatory work includes vocabulary terms, art concepts, drawing guides, brainstorming activities, and drawing activities. The two main prompts are designed for students to explore the materials and to encourage self-reflection. The class is curated so that students can create art in a low-risk, non-judgemental environment. The course will also focus on establishing problem-solving and critical thinking skills through engaging activities.

COVID-19 has shocked the bedrock of society, impacting both human life and the economy. Accompanying this shock has been the psychological distress inflicted onto the general population as a result of the emotion strain stemming from isolation/quarantine policies, being sick with COVID-19, dealing with COVID-19 losses, and post-COVID syndrome and its effect on quality of life. The psychological distress has been experienced by the general population, but compared to middle age (30-50) and older adults (>50 years of age), it has been young adults (18-30 years old) who have been more psychologically affected (Glowacz & Schmits, 2020). Psychological distress, specifically anxiety and depression, has been exacerbated by feelings of uncertainty, fear of illness, losing loved ones, and fear of post-COVID syndrome. Post-COVID syndrome, as with other post-viral syndromes such as post viral SARS involve lingering symptoms such as myalgic encephalomyelitis or Chronic Fatigue Syndrome (CFS), and loss of motivation (Underhill, 2015). In addition to these symptoms, patients suffering from post-COVID syndrome have also presented brain inflammation and damaged brain blood vessels (Meinhardt et al., 2021), Endotheliitis (Varga et al., 2020), CV abnormalities and changes in glucose metabolism (Williams et al., 2020). CV abnormalities and changes in glucose metabolism are connected to chronic illnesses like diabetes and heart disease respectively. These chronic illnesses are then associated with higher risk for depression as a result of the stress induced by the symptoms and their impact on quality of life (NIMH, 2021). Further monitoring, and research will be important to gauge ultimate physiological and psychological impact of COVID-19.

This paper explores the psychological experiences of domestic workers in three contemporary Latin American films: Roma (Mexico, 2018), Crímenes de familia (Argentina, 2020) and Que Horas Ela Volta? (Brazil, 2015). Specifically, the motherhood of these three protagonists is explored and analyzed using psychological research that pertains to motherhood, trauma, and the relationships between domestic workers and the families that employ them. This paper reveals that contemporary Latin American cinema portrays domestic workers as having negative experiences of motherhood as a direct result of their occupation and proposes for further protections, policy change, and psychological research to take place for domestic workers in Latin America and beyond.