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- All Subjects: Creative Project
Description
A void exists in public administration, criminology, and criminal justice research as it relates to the study of power in American policing agencies. This has significant ramifications for academia and practitioners in terms of how they view, address, study, and interpret behaviors/actions in American policing agencies and organizations in general. In brief, mainstream research on power in organizations does not take into account relationships of power that do not act directly, and immediately, on others. By placing its emphasis on an agency centric perspective of power, the mainstream approach to the study of power fails to recognize indirect power relationships that influence discourse, pedagogy, mechanisms of communication, knowledge, and individual behavior/actions. In support of a more holistic inquiry, this study incorporates a Foucauldian perspective of power along with an ethnographical methodology and methods to build a greater understanding of power in policing organizations. This ethnography of an American policing organization illuminates the relationship between the exercise of power and the objectification of the subject through the interplay of relationships of communication, goal oriented activities, and relationships of power. Specifically, the findings demonstrate that sworn officers and civilian employees are objectified distinctly and dissimilarly. In summary, this study argues that the exercise of power in this American policing organization objectifies the civilian employee as a second class citizen.
ContributorsBentley, Paul C (Author) / Catlaw, Thomas (Thesis advisor) / Musheno, Michael (Committee member) / Lucio, Joanna (Committee member) / Arizona State University (Publisher)
Created2013
Description
On-officer video camera (OVC) technology in the field of policing is developing at a rapid pace. Large agencies are beginning to adopt the technology on a limited basis, and a number of cities across the United States have required their police departments to adopt the technology for all first responders. Researchers have just begun to examine its effects on citizen complaints, officers' attitudes, and street-level behavior. To date, however, there is no research examining how departmental policy and assignment of officers to a camera program affect officer behavior and opinions of the cameras. Policy and assignment have the potential to impact how officers react to the technology and can affect their interactions with citizens on a daily basis. This study measures camera activations by line officers in the Mesa Police Department during police-citizen encounters over a ten-month period. Data from 1,675 police-citizen contacts involving camera officers were subject to analysis. Net of controls (i.e., the nature of the crime incident, how it was initiated, officer shift, assignment, presence of bystanders and backup, and other situational factors), the bivariate and multivariate logistic regression analyses were used to examine how departmental policy (mandatory versus discretionary activation policy) and officer assignment (voluntary versus mandatory assignment) affected willingness to activate the cameras, as well as officer and citizen behavior during field contacts.
ContributorsRoy, Allyson (Author) / Ready, Justin (Thesis advisor) / Telep, Cody (Committee member) / Fox, Kate (Committee member) / Arizona State University (Publisher)
Created2014
Description
The occupation of policing has long been associated with masculinity. Resistance
to the integration of women into the law enforcement profession stemmed from widely
held beliefs that women were incapable of performing the police function. Although
much has changed in policing, female officers are bombarded with masculine symbols
depicting mostly the agentic characteristics associated with the law enforcement
profession. Or, they are offered socially and culturally constructed definitions of who
they are supposed to be as women as well as what is lacking in them as officers. This
study explores the disparity between how female police officers are viewed, what they
experience, and how they are represented. The perspective of the female officer was
captured, and presented through visual images obtained by participants. Descriptive
coding and thematic analysis converted photographs and written narratives into
participant generated themes and stories. Female officers in this study resisted stereotypic
portraits of women in policing and sought expanded boundaries of inclusion within their
profession. Participants produced some understanding of how women construct their
personal and professional identities relative to gender, as well as the larger roles of
women in society.
to the integration of women into the law enforcement profession stemmed from widely
held beliefs that women were incapable of performing the police function. Although
much has changed in policing, female officers are bombarded with masculine symbols
depicting mostly the agentic characteristics associated with the law enforcement
profession. Or, they are offered socially and culturally constructed definitions of who
they are supposed to be as women as well as what is lacking in them as officers. This
study explores the disparity between how female police officers are viewed, what they
experience, and how they are represented. The perspective of the female officer was
captured, and presented through visual images obtained by participants. Descriptive
coding and thematic analysis converted photographs and written narratives into
participant generated themes and stories. Female officers in this study resisted stereotypic
portraits of women in policing and sought expanded boundaries of inclusion within their
profession. Participants produced some understanding of how women construct their
personal and professional identities relative to gender, as well as the larger roles of
women in society.
ContributorsVeach, Paula (Author) / Puckett, Kathleen (Thesis advisor) / Kleinsasser, Robert (Committee member) / Rabe-Hemp, Cara (Committee member) / Arizona State University (Publisher)
Created2015
Description
ABSTRACT Following the tragic events of 9-11, top Federal policy makers moved to establish the Department of Homeland Security (DHS). This massive realignment of federal public safety agencies also loosely centralized all U.S. civilian security organizations under a single umbrella. Designed to respond rapidly to critical security threats, the DHS was vested with superseding authority and broad powers of enforcement. Serving as a cabinet member, the new agency was administered by a secretary who answered directly to the President of the United States or the national chief executive. At its creation, many touted this agency as a new security structure. This thesis argues that the formation of DHS was not innovative in nature. Rather, its formation was simply the next logical step in the tiered development of an increasingly centralized approach to policing in the United States. This development took place during the early settlement period of Texas and began with the formation of the Texas Rangers. As the nation's first border patrol, this organization greatly influenced the development of centralized policing and law enforcement culture in the United States. As such, subsequent agencies following this model frequently shared a startling number of parallel developments and experienced many of the same successes and failures. The history of this development is a contested narrative, one that connects directly to a number of current, critical social issues regarding race and police accountability. This thesis raises questions regarding the American homeland. Whose homeland was truly being protected? It also traces the origins of the power to justify the use of gratuitous violence and the casting of particular members of society as the symbolic enemy or outsiders. Lastly, this exploration hopes to bring about a better understanding of the traditional directionality of the use of coercive force towards particular members of society, while at the same time, justifying this use for the protection of the rights and safety of others. It is hoped that the culmination of this work will assist American society in learning to address the task of redressing past wrongs while building more effective and democratic public security structures. This is of the utmost importance as the United States continues to weigh the benefits of centralized security mechanisms and expanding police authority against the erosion of the tradition of states' rights and the personal civil liberties of its citizens. Because police power must continually be monitored and held in check, concerns regarding the increasing militarization of civilian policing may benefit from an objective evaluation of the rise of centralized policing as experienced through the development of the Texas Rangers and rural range policing.
ContributorsTurner, D. L., 1957- (Author) / Simpson, Brooks D. (Thesis advisor) / Decker, Scott H. (Committee member) / Gomez, Alan E. (Committee member) / Arizona State University (Publisher)
Created2012
Description
The Federal Flight Deck Officer (FFDO) program was mandated legislatively, as part of the Homeland Security Act of 2002. This study replicated earlier research that investigated pilots’ opinions of the current state of the FFDO program based on interviews. A Likert survey was created to allow simpler quantitative collection and analysis of opinions from large groups of pilots. A total of 43 airline pilots participated in this study. Responses to the Likert questions were compared with demographics, searching for significance through a Pearson chi-square test and frequencies were compared to earlier research findings. Significant chi-square results showed that those familiar with the program were more likely to agree the program should continue, it was effective, the screening and selection process of program applicants was adequate and the Federal Air Marshal Service’s management of the FFDO program was effective. Those with Military experience were more likely to disagree it was reasonable that FFDOs were required to pay for their own room and board during training or train on their own time. All those who shared an opinion agreed there should be a suggestion medium between FFDOs and their management. Unlike the prior study, all those familiar with the program agreed the weapons transportation and carriage procedures were adequate. Furthermore, all those who shared an opinion found the holster locking mechanism adequate, which was another reversal of opinion from the prior study. Similar to the prior study, pilots unanimously agree FFDOs were well trained and agreed that the program was effective and should continue.
ContributorsFerrara, Marc, M.S (Author) / Niemczyk, Mary (Thesis advisor) / Nullmeyer, Robert (Committee member) / Branaghan, Russell (Committee member) / Arizona State University (Publisher)
Created2017
Description
In recent years, sex trafficking awareness and intervention have skyrocketed in the United States. The 2016 Polaris Hotline Statistics Sheet reports a drastic increase of reported sex trafficking cases over the span of four years, with only 3,409 cases of human trafficking in 2012 and 8,042 in 2016, 73% of which were specifically sex trafficking cases (Polaris Project, 2016). The incidence of sex trafficking has not increased, but rather, attention to sex trafficking and implementation of legislation has increased awareness and reporting (Farrell et al., 2012). While this rise in public awareness of sex trafficking has positively impacted victim identification, there has not been an increase in convicting sex traffickers (Polaris Project, 2016). According to the 2016 Trafficking in Persons Report, 3,000 federal investigations that involved human trafficking, the majority of which specifically involved sex trafficking, were opened in 2015. Of these federal investigations, only 10% led to case prosecutions. Analyzing the relationship of law enforcement, specifically vice units, and victims of sex trafficking is just one of the many ways to address this complex issue. This study consisted of a qualitative analysis of the makeup, training, and policing methods of vice units nationwide. It further aimed to determine the vice officer perceptions regarding the elements that make sex trafficking cases convictable.
ContributorsPradhan, Krishnaa (Author) / Maienschein, Jane (Thesis director) / Kinzig, Ann (Committee member) / Kim, Grace (Committee member) / Barrett, The Honors College (Contributor)
Created2018-05
Description
How do you convey what’s interesting and important to you as an artist in a digital world of constantly shifting attentions? For many young creatives, the answer is original characters, or OCs. An OC is a character that an artist creates for personal enjoyment, whether based on an already existing story or world, or completely from their own imagination.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
ContributorsCote, Jacqueline (Author) / Button, Melissa M (Thesis director) / Dove-Viebahn, Aviva (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
In the past ten years, the United States’ sound recording industries have experienced significant decreases in employment opportunities for aspiring audio engineers from economic imbalances in the music industry’s digital streaming era and reductions in government funding for career and technical education (CTE). The Recording Industry Association of America reports promises of music industry sustainability based on increasing annual revenues in paid streaming services and artists’ high creative demand. The rate of new audio engineer entries in the sound recording subsection of the music industry is not viable to support streaming artists’ high demand to engineer new music recordings. Offering CTE programs in secondary education is rare for aspiring engineers with insufficient accessibility to pursue a post-secondary or vocational education because of financial and academic limitations. These aspiring engineers seek alternatives for receiving an informal education in audio engineering on the Internet using video sharing services like YouTube to search for tutorials and improve their engineering skills. The shortage of accessible educational materials on the Internet restricts engineers from advancing their own audio engineering education, reducing opportunities to enter a desperate job market in need of independent, home studio-based engineers. Content creators on YouTube take advantage of this situation and commercialize their own video tutorial series for free and selling paid subscriptions to exclusive content. This is misleading for newer engineers because these tutorials omit important understandings of fundamental engineering concepts. Instead, content creators teach inflexible engineering methodologies that are mostly beneficial to their own way of thinking. Content creators do not often assess the incompatibility of teaching their own methodologies to potential entrants in a profession that demands critical thinking skills requiring applied fundamental audio engineering concepts and techniques. This project analyzes potential solutions to resolve the deficiencies in online audio engineering education and experiments with structuring simple, deliverable, accessible educational content and materials to new entries in audio engineering. Designing clear, easy to follow material to these new entries in audio engineering is essential for developing a strong understanding for the application of fundamental concepts in future engineers’ careers. Approaches to creating and designing educational content requires translating complex engineering concepts through simplified mediums that reduce limitations in learning for future audio engineers.
ContributorsBurns, Triston Connor (Author) / Tobias, Evan (Thesis director) / Libman, Jeff (Committee member) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
There has been a recent push for queer fiction, especially in the young adult genre, whose focus is gay and lesbian relationships. This growth is much needed in terms of visibility and the furthering of acceptance, but there are still subjects within the LGBTQ+ community that need to be addressed, including bisexual, asexual, and non-binary erasure. There are many people who claim that these identities do not exist, are labels used as a stepping stone on one's journey to discovering that they are homosexual, or are invented excuses for overtly promiscuous or prudish behavior. The existence of negative stereotypes, particularly those of non-binary individuals, is largely due to a lack of visibility and respectful representation within media and popular culture. However, there is still a dearth of non-binary content in popular literature outside of young adult fiction. Can You See Me? aims to fill the gap in bisexual, asexual, and non-binary representation in adult literature. Each of the four stories that make up this collection deals with an aspect of gender and/or sexuality that has been erased, ignored, or denied visibility in American popular culture. The first story, "We'll Grow Lemon Trees," examines bisexual erasure through the lens of sociolinguistics. A bisexual Romanian woman emigrates to Los Angeles in 1989 and must navigate a new culture, learn new languages, and try to move on from her past life under a dictatorship where speaking up could mean imprisonment or death. The second story "Up, Down, All Around," is about a young genderqueer child and their parents dealing with microaggressions, examining gender norms, and exploring personal identity through imaginary scenarios, each involving an encounter with an unknown entity and a colander. The third story, "Aces High," follows two asexual characters from the day they're born to when they are 28 years old, as they find themselves in pop culture. The two endure identity crises, gender discrimination, erasure, individual obsessions, and prejudice as they learn to accept themselves and embrace who they are. In the fourth and final story, "Mile Marker 72," a gay Mexican man must hide in plain sight as he deals with the death of his partner and coming out to his best friend, whose brother is his partner's murderer.
ContributorsOchser, Jordyn M. (Author) / Bell, Matt (Thesis director) / Free, Melissa (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Pandora is a play exploring our relationship with gendered technology through the lens of artificial intelligence. Can women be subjective under patriarchy? Do robots who look like women have subjectivity? Hoping to create a better version of ourselves, The Engineer must navigate the loss of her creation, and Pandora must navigate their new world. The original premiere run was March 27-28, 2018, original cast: Caitlin Andelora, Rikki Tremblay, and Michael Tristano Jr.
ContributorsToye, Abigail Elizabeth (Author) / Linde, Jennifer (Thesis director) / Abele, Kelsey (Committee member) / Department of Information Systems (Contributor) / Economics Program in CLAS (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05