Filtering by
- All Subjects: Music
Cultural Perceptions of Leisure and Well-being in Rock Climbing Communities of Peru and Arizona, USA
Keywords: event planning, social media, music
SYSTEMA NERVOSUM is an interdisciplinary personal narrative on design, music, and identity. The project is composed of eleven parts, each addressing the themes of interconnection, the power of the human body, internal and external misunderstanding, and fear. The goal of SYSTEMA NERVOSUM was to create a body of work that reflected the very essence of creative and interdisciplinary thinking.
The purpose of this creative project was to create a stereo sound system in a unique medium. As a team, we decided to integrate a Tesla Coil with a bluetooth audio source. These high frequency, high voltage systems can be configured to emit their electrical discharge in a manner that resembles playing tunes. Originally the idea was to split the audio into left and right, then to further segregate the signals to have a treble, mid, and base emitter for each side. Due to time, budget, and scope constraints, we decided to complete the project with only two coils.<br/><br/>For this project, the team decided to use a solid-state coil kit. This kit was purchased from OneTelsa and would help ensure everyone’s safety and the project’s success. The team developed our own interrupting or driving circuit through reverse-engineering the interrupter provided by oneTesla and discussing with other engineers. The custom interpreter was controlled by the PSoC5 LP and communicated with an audio source through the DFRobot Bluetooth module. Utilizing the left and right audio signals it can drive the two Tesla Coils in stereo to play the music.
Uniforms and logos are an essential part of sports teams and are created with the intention of representing the city and state of their respective teams. More than a uniform: How culture influences the creation of Arizona sports logos and jerseys presents a look at the conversations and processes undergone before teams are able to unveil their new threads. Four local professional teams are involved with this project: Phoenix Suns, Arizona Diamondbacks, Arizona Coyotes and Arizona Cardinals. Members from each of the organizations were interviewed, in addition to Greg Fisher of Fisher Design. Information was gathered from each of those interviews in addition to research done on the history of each of the team’s uniforms. The information was then created into a documentary that consists of visual and verbal components. The film highlights how each team attempts to represent Arizona and its culture when it comes to what they are wearing on the field, court or ice. The interviews capture the mindset of creative teams as they explore growing new ideas and looks, in addition to a historical delve into two of the team’s debuts in the 1990s. Many of Arizona’s sports teams have much more behind their logos and jerseys than meets the eye. The project taught me how adapt broadcast skills into documentary style storytelling and how important visuals are for longer features. The interviews showed that so many things are taken into consideration when designing a sports logo or uniform and the process can take either months or years to finally reach fruition.
The United States’ War on Drugs declared in 1971 by President Richard Nixon and revamped by President Reagan in the 1980s has been an objectively failed initiative with origins based in racism and oppression. After exploring the repercussions of this endeavor for societies and individuals around the world, global researchers and policymakers have declared that the policies and institutions created to fight the battle have left devastation in their wake. Despite high economic and social costs, missed opportunities in public health and criminal justice sectors, and increasing limits on our personal freedoms, all the measures taken to eradicate drug abuse and trafficking have been unsuccessful. Not only that, but militarized police tactics, mass incarceration, and harsh penalties that stifle opportunities for rehabilitation, growth, and change disproportionately harm poor and minority communities. <br/>Because reform in U.S. drug policy is badly needed, the goals of America’s longest war need to be reevaluated, implications of the initiative reexamined, and alternative strategies reconsidered. Solutions must be propagated from a diverse spectrum of contributors and holistic understanding through scientific research, empirical evidence, innovation, public health, social wellbeing, and measurable outcomes. But before we can know where we should be headed, we need to appreciate how we got to where we are. This preliminary expository investigation will explore and outline the history of drug use and prohibition in the United States before the War on Drugs was officially declared. Through an examination of the different patterns of substance use, evolving civil tolerance of users, racially-charged anti-drug misinformation/propaganda campaigns, and increasingly restrictive drug control policies, a foundation for developing solutions and strengths-based strategies for drug reform will emerge.
Urban encroachment into traditional snake territories has long been underway; likely increasing snake sightings in urban neighborhoods. With increasing overlap, I ask if the perceptions of snakes are actually influencing urban residents to say that snakes are a significant problem in their neighborhood today? I was interested in finding out whether or not there would be a positive correlation between the perception of snakes being a problem within a neighborhood and the actual number of sightings recorded. To address this, I used survey responses from 2017 regarding the risk perception of snakes from twelve neighborhoods within Maricopa County. These responses were then compared to the number of snake sightings within those same neighborhoods over a span of ten years using community science data from iNaturalist. The average results of the people who took the survey perceived that snakes were not a problem in their neighborhood. It was also found that in the outlying areas closer to natural snake habitat (desert preserves), a positive correlation between a higher survey response and a higher number of snake sightings could be seen. Overall, the conclusion of the data revealed that the perceptions of residents did not align with the actual number of snake sightings.
While touring may have been all about sex, drugs, and rock n' roll back in the 70's, the money in music has transferred to tour profits, rather than album sales. Thus, artists tour harder and more frequently, leading to an industry of overworked and usually underpaid individuals. It isn't unusual for a touring professional to work 14+ hour days, 7 days a week, and the work is sometimes back-breaking labor. Physical illness and living with coworkers can also add to the stress of an already strenuous job.
Even worse, pressures from the public, their clients, and even their coworkers can prevent those suffering with mental health issues from speaking out about it. No Breaks describes the "cycle of silence," or the high probability that those experiencing mental health issues will continue to stay silent if members of their touring crew or larger music community also fail to speak up.
The book concludes with a list of actions the public and industry can take in order to prevent and alleviate the intense pressure the music industry feels, including putting money back into music, donating to organizations that work to treat mental illness in them music industry, and offering support those who do choose to speak out. The purpose of No Breaks, however, is not to eradicate the conditions that exacerbate mental illness with a turn-key solution, but rather to explore these complex issues and create awareness. Many of the problems discussed in the book are self-perpetuating or linked with each other, and will take time, awareness, and cooperation to move forward and create a better industry for all.
Set in 1999, the film focuses much of its time on exploring alternative visual interpretations of a color-saturated digital space, and contrasting these with a less-vibrant analog world. This contrast intends to provide a visual differentiation between the digital and analog worlds, serving as the basis of the film’s storytelling. The built worlds privilege the emotional context of the internet, and contain an inherent thesis statement: that the digital experience can be as rich and meaningful as that of the analog, if not more so. The visual direction is the result of integrating several perspectives, including contemporary representations of the internet on film, personal observations, digital themed art installations, and experiences of others on the internet. As such, this film intended to engage with the existing body of work, and provide an artistic contribution to what already existed within the film and music video landscapes.
With this, I intend to use storytelling as a tool for conceptualizing worth. Specifically, with the centering of two Black women as romantic interests, I hope to provide a nuanced affirmation in a space where representation is often lacking.