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In this thesis, I will present a framework for explicating the GD&T schema implied by machining process plans. The first step is to derive the DRFs from the fixturing method in each set-up. Then basic dimensions for the features to be machined in each set up are determined with respect to the extracted DRF. Using shop data for the machines and operations involved, the range of possible geometric variations are estimated for each type of tolerances (form, size, orientation, and position). The sequence of manufacturing operations determines the datum flow chain. Once we have a formal manufacturing GD&T schema, we can analyze and compare it to tolerance specifications from design using the T-map math model. Since the model is based on the manufacturing process plan, it is called resulting T-map or m-map. Then the process plan can be validated by adjusting parameters so that the m-map lies within the T-map created for the design drawing. How the m-map is created to be compared with the T-map is the focus of this research.
The clothing and textile industry is often referred to as one of the largest polluters in the world. Over the last two decades, global annual consumption has increased, and the volume of discarded clothing in America has doubled from 7 to 14 million tons a year (Shirvanimoghaddam, 2020). Over 60% of textile waste overall is exported to the Global South. In the Global South, landfills that receive this waste often lack proper funding and legislation to implement effective waste management systems (Schiros). Textile waste bears a carbon and water footprint that disrupts environmental and health standards on egregious levels, disproportionately harming the health of the populations situated near to those disposal sites, and preventing so-called “developing populations” from economic independence and from sustaining critical environmental health standards. The exploitation of the Global South as a dumping ground also erodes the possibility of economic development by local production and economic self-reliance. Structural adjustments and trade regulated by the ‘developed’ country subjugate the Global South to neo-colonialist, exploitative economic partnerships with the Global North. Rwanda is one example of a country attempting to rise to the World Bank’s classification as a middle-income country, but has been accused of trading human rights for development in the process.
My investigation first seeks to answer, What are the specific health threats of post-consumer textiles? I consider the human health impacts of textiles from cultivation to disposal. This study examines the role of waste as a potential function in the production process, where waste is not considered a negative economic value. My second question is How is the Global South's participation in international collaboration empowered by acts of resistance against the assumptions, research, and policies that suggest Western aid and medicine is superior and the basis for innovative technology? Acts of resistance are pursued within the public sphere (especially in terms of community building and art making), low technology, and locally situated science (that consider the culture, approach, and resources of the Global South before scaling up to the North). Corporations and state policy are considered to expand research, but the focus is largely on acts of resistance by the public, and acts of resistance at a community-level of cooperation. Through the framework of the zine, audiences can better understand the relationship between the US and countries in the East African Community, in South Africa, in shared regions. This creative project informs and challenges the reader to think critically about their role in a postcolonial context. I seek to understand how colonialism pervades the economic relationship and import-export business today between the Global North and the Global South. My purpose is to provide the reader with a vision that suggests the most critical changes that should be made to secure humane and environmentally sustainable solutions. It also serves as a catalyst for additional research on the Global South.
https://www.youtube.com/watch?v=5osMYze5138
In January 2020, the World Health Organization (WHO) declared the outbreak of the novel SARS-CoV-2, otherwise referred to as COVID-19, to be an international pandemic. Ensuing health regulations around the world forced the cease of international traveling, reduced domestic travel, implemented mandatory stay-at-home orders and asked many to wear face masks in public areas. Students, workers, and many in the public sphere switched from in-person interactions to online platforms, operating remotely from their respective homes. The shift to virtual platforms has since greatly impacted arts programs and professions. Whereas the nature of music and art production rely upon the collaboration between people, often in the same room, the forced shift to virtual platforms created an upheaval for artists to re-imagine their work.
Though the transition from in-person to virtual collaboration seemed abrupt and unwanted, it opened up opportunities to create new projects that otherwise may not have happened. “Cross-Disciplinary Arts Collaboration on a Virtual Platform” took advantage of the ubiquitous shift to virtual collaboration of art disciplines. This project combined poetry, music, dance and visual art to create a unique piece that might not have been possible through strictly in-person collaboration. The goal of this project was to amplify the meaning and impact of music through the addition of words (poetry), movement (dance), and visuals (artwork).
The majority of this rewrite was spent on fine-tuning character and motivation, strengthening them in some cases and changing them entirely in others. I really strove to emphasize the relationships they had with each other and how the situations and connections affected the state of mind, therefore leading to the chain of events that happened in the script in a much more natural way. I also worked to emphasize certain story elements that benefited the characters and thematic content, specifically my protagonist’s struggle with schizophrenia. In this draft, I turned that character trait into a visual element, which I believe further heightened the visual and emotional stakes of the story and gave the characters an increased sense of motivation and struggle. In this draft I also worked to break down the stereotype connected with my secondary protagonist, a sex worker. Instead of emphasizing her strength and beauty, as many action films with a strong/sexualized woman in a supporting role do, I adjusted her story arc to break her stereotype (and her character) down throughout the story. I wanted to depict her as a person with flaws that extend beyond her choice of profession, though the latter certainly did not help. I believe that the final product succeeds in both main goals.
While working on this rewrite, I also completed a script edit journal that detailed the significant changes in action, pacing or dialogue I made and what my reasoning was behind them.
The main character, Princess Alexandria, must navigate a world where the all magic is controlled by a power-hungry ruler, King Mordred. After he decides to pursue the Ruins of Kronos in order to gain control over time itself, the princess decides to intervene. Alexandria escapes the palace with her childhood best friend James, to stop him, nearly dying in the process, and finds a group of fairies who have lost their wings. The fairies help her discover the true origins and capabilities of magic, making her realize that she must restore it to the realm in order to stop King Mordred. Alexandria disguises herself as a man and joins the King’s Knights, befriending a rebel in disguise named Keith along the way, as she discovers her brother Noah may be on the King’s side. Together, they work to liberate lands oppressed by King Mordred’s rule, and by the Black Plague that Morgana has set upon them, all while uncovering the corruption present in their society.
“InnovationSpace is an entrepreneurial joint venture among the Herberger Institute for Design and the Arts, Ira A. Fulton Schools of Engineering, W.P. Carey School of Business and the Julie Ann Wrigley Global Institute of Sustainability at Arizona State University. The goal […] is to develop products that create market value while serving real societal needs and minimizing impacts on the environment. Put simply, we seek to create products that are progressive, possible and profitable. At the same time, they must have a meaningful impact on the daily lives of ordinary people. InnovationSpace utilizes two fundamental strategies for creating sustainable innovation: a model of new product development known as Integrated Innovation and the emerging field of biomimicry.” — InnovationSpace program syllabus
The focus of the project outlined by Cisco is “to understand the needs of people who face physical, cognitive or sensory disabilities, and develop new products and services for them utilizing the potential of the new technologies called the Internet of Things.” In other words, I am challenged to leverage the Internet of Things technologies to develop a device that benefits individuals with disabilities.
The final product is an automated airport cart — Chariot. Based on stakeholders’ needs interviews, we find that visually impaired people experience difficulties navigating the airport when they need to travel. Many airports attempt to solve this problem by offering wheelchair. However, visually impaired people feel that they are treated unfairly and become dependent on the wheelchairs. Chariot strives to solve this problem by applying the same concept in autonomous vehicle to guide the users through the airport. The users receive their itinerary email that will link to the Chariot app on their phones. When they arrive at the airport, the users simply connect their phones with Chariot and information such as gate number and departure time will be updated in the cart so that Chariot can guide the users to the desired destination. Ultimately, Chariot aims to give visually impaired people more control over their lives.
Exploring the Veil of Blackness is a creative project in the form of a podcast titled UKME America”. UKME America stands for Uwem mi Kederimbot America, which means “my life in the world in America”. It aims to explore the differences that divide individuals within the black community from a perspective of a First-Generation African American. It also illustrates how diverse the black community is. Drawing from my own experiences and research, this led me to a common theme centered around the following four questions: (a) what is it like to lose one’s identity; (b) where does this insecurity stem from; (c) how does society impact the way we view ourselves; and (d) how can we uplift ourselves. In my podcast, I interviewed individuals who identified as African Americans, First Generation African Americans, and Africans.
Everyone I interviewed told me their stories using historical, social, and cultural narratives. Overall, I want individuals to understand that there is fluidity behind the meaning of “black”, and the more individuals learn to embrace their differences, the more we can break down the barriers, put a united front, fight societal discrimination. I would like to thank my thesis director Dr. Neveser Köker and Second Committee Chair, Matthew Voorhees. I want to thank them for their guidance, motivation, patience, and for pushing and challenging me to reach new heights. I also would like thank my mom and Dr. Cynthia Patiño, for their constant encouragement and support. This would not have been possible without them.
Did He Kill the Mockingbird? provides an alternate ending to To Kill a Mockingbird. In the original play, the townspeople never discovered that Arthur Radley killed Bob Ewell. In Did He Kill the Mockingbird? a townsperson overhears Atticus Finch and Heck Tate discussing Bob Ewell's death. This leads the townsperson to tell others in Maycomb County of the events that had unfolded the night Bob Ewell died.
As the play progresses, we explore how ignorance, willful and not, change the daily lives and actions of individuals who have mental illnesses and disabilities such as Autism. The townspeople may not see a problem with the way they treat Arthur Radley, as he is just a man who they believe stabbed his mother. However, in reality, they are causing more harm by encouraging and perpetuating rumors about Arthur Radley. In turn, the rumors enhance the stigma that plagues Arthur Radley.
Jean Louise Finch is the main character in Did he Kill the Mockingbird? Jean supports Arthur Radley, and is able to see the good in him although the rest of the townspeople continue to believe he is a bad person.
I hope that my version of this alternative ending to original play brings to light the changes that we need to make as a society to encourage the acceptance of all people. As a society, we need to treat all people, whether disabled or not, as equals. Rather than perpetuating stereotypes, we need to encourage everyone to work hard and reach for their goals whatever they may be.
0° spoilers reduced the wake area behind the car, decreasing pressure drag but also decreasing underbody flow, causing a reduction in drag and downforce. Angled spoilers increased the wake area behind the car, increasing pressure drag but also increasing underbody flow, causing an increase in drag and downforce. Longer spoilers increased these effects compared to shorter spoilers, and short spoilers at different angles did not create significantly different effects. 0° spoilers would be best suited for cases that prioritize fuel economy or straight-line acceleration and speed due to the drag reduction, while angled spoilers would be best suited for cars requiring downforce. The angle and length of spoiler would depend on the downforce needed, which is dependent on the track.