The aim of this creative project was to explore the ideas of impermanence and transience through the lens of different, largely non-western cultural backgrounds, and to incorporate what I learned into my own work as a painter. As part of this, I focused on the materials, techniques, visual strategies, and philosophies that guided the creation of these works. The project consisted of a discrete research phase, during which time I gathered information and materials related to my topic, and a creation phase, when I focused largely on the production of oil paintings and ink paintings whose technique and/or subject matter pertained to impermanence. Research for the most part was conducted by utilizing online and physical collections of work to analyze the formal elements of the work along with the cultural context in which it was created. Ultimately the creative project resulted in a product of three oil paintings and five ink paintings.

Cancer rates vary between people, between cultures, and between tissue types, driven by clinically relevant distinctions in the risk factors that lead to different cancer types. Despite the importance of cancer location in human health, little is known about tissue-specific cancers in non-human animals. We can gain significant insight into how evolutionary history has shaped mechanisms of cancer suppression by examining how life history traits impact cancer susceptibility across species. Here, we perform multi-level analysis to test how species-level life history strategies are associated with differences in neoplasia prevalence, and apply this to mammary neoplasia within mammals. We propose that the same patterns of cancer prevalence that have been reported across species will be maintained at the tissue-specific level. We used a combination of factor analysis and phylogenetic regression on 13 life history traits across 90 mammalian species to determine the correlation between a life history trait and how it relates to mammary neoplasia prevalence. The factor analysis presented ways to calculate quantifiable underlying factors that contribute to covariance of entangled life history variables. A greater risk of mammary neoplasia was found to be correlated most significantly with shorter gestation length. With this analysis, a framework is provided for how different life history modalities can influence cancer vulnerability. Additionally, statistical methods developed for this project present a framework for future comparative oncology studies and have the potential for many diverse applications.

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.

Robots are often used in long-duration scenarios, such as on the surface of Mars,where they may need to adapt to environmental changes. Typically, robots have been built specifically for single tasks, such as moving boxes in a warehouse or surveying construction sites. However, there is a modern trend away from human hand-engineering and toward robot learning. To this end, the ideal robot is not engineered,but automatically designed for a specific task. This thesis focuses on robots which learn path-planning algorithms for specific environments. Learning is accomplished via genetic programming. Path-planners are represented as Python code, which is optimized via Pareto evolution. These planners are encouraged to explore curiously and efficiently. This research asks the questions: “How can robots exhibit life-long learning where they adapt to changing environments in a robust way?”, and “How can robots learn to be curious?”.

Hundreds of thousands of people die annually from malaria; a protozoan of the genus Plasmodium is responsible for this mortality. The Plasmodium parasite undergoes several life stages within the mosquito vector, the transition between which require passage across the lumen of the mosquito midgut. It has been observed that in about 15% of parasites that develop ookinetes in the mosquito abdomen, sporozoites never develop in the salivary glands, indicating that passage across the midgut lumen is a significant barrier in parasite development (Gamage-Mendis et al., 1993). We aim to investigate a possible correlation between passage through the midgut lumen and drug-resistance trends in Plasmodium falciparum parasites. This study contains a total of 1024 Anopheles mosquitoes: 187 Anopheles gambiae and 837 Anopheles funestus samples collected in high malaria transmission areas of Mozambique between March and June of 2016. Sanger sequencing will be used to determine the prevalence of known resistance alleles for anti-malarial drugs: chloroquine resistance transporter (pfcrt), multidrug resistance (pfmdr1) gene, dihydropteroate synthase (pfdhps) and dihydrofolate reductase (pfdhfr). We compare prevalence of resistance between abdomen and head/thorax in order to determine whether drug resistant parasites are disproportionately hindered during their passage through the midgut lumen. A statistically significant difference between resistance alleles in the two studied body sections supports the efficacy of new anti-malarial gene surveillance strategies in areas of high malaria transmission.

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.