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Description
Neuroimaging has appeared in the courtroom as a type of `evidence' to support claims about whether or not criminals should be held accountable for their crimes. Yet the ability to abstract notions of culpability and criminal behavior with confidence from these imagines is unclear. As there remains much to be discovered in the relationship between personal responsibility, criminal behavior, and neurological abnormalities, questions have been raised toward neuroimaging as an appropriate means to validate these claims.
This project explores the limits and legitimacy of neuroimaging as a means of understanding behavior and culpability in determining appropriate criminal sentencing. It highlights key philosophical issues surrounding the ability to use neuroimaging to support this process, and proposes a method of ensuring their proper use. By engaging case studies and a thought experiment, this project illustrates the circumstances in which neuroimaging may assist in identifying particular characteristics relevant for criminal sentencing.
I argue that it is not a question of whether or not neuroimaging itself holds validity in determining a criminals guilt or motives, but rather a proper application of the issue is to focus on the way in which information regarding these images is communicated from the `expert' scientists to the `non-expert' making decisions about the sentence that are most important. Those who are considering this information's relevance, a judge or jury, are typically not well versed in criminal neuroscience and interpreting the significance of different images. I advocate the way in which this information is communicated from the scientist-informer to the decision-maker parallels in importance to its actual meaning.
As a solution, I engage Roger Pielke's model of honest brokering as a solution to ensure the appropriate use of neuroimaging in determining criminal responsibility and sentencing. A thought experiment follows to highlight the limits of science, engage philosophical repercussions, and illustrate honest brokering as a means of resolution. To achieve this, a hypothetical dialogue reminiscent of Kenneth Schaffner's `tools for talking' with behavioral geneticists and courtroom professionals will exemplify these ideas.
This project explores the limits and legitimacy of neuroimaging as a means of understanding behavior and culpability in determining appropriate criminal sentencing. It highlights key philosophical issues surrounding the ability to use neuroimaging to support this process, and proposes a method of ensuring their proper use. By engaging case studies and a thought experiment, this project illustrates the circumstances in which neuroimaging may assist in identifying particular characteristics relevant for criminal sentencing.
I argue that it is not a question of whether or not neuroimaging itself holds validity in determining a criminals guilt or motives, but rather a proper application of the issue is to focus on the way in which information regarding these images is communicated from the `expert' scientists to the `non-expert' making decisions about the sentence that are most important. Those who are considering this information's relevance, a judge or jury, are typically not well versed in criminal neuroscience and interpreting the significance of different images. I advocate the way in which this information is communicated from the scientist-informer to the decision-maker parallels in importance to its actual meaning.
As a solution, I engage Roger Pielke's model of honest brokering as a solution to ensure the appropriate use of neuroimaging in determining criminal responsibility and sentencing. A thought experiment follows to highlight the limits of science, engage philosophical repercussions, and illustrate honest brokering as a means of resolution. To achieve this, a hypothetical dialogue reminiscent of Kenneth Schaffner's `tools for talking' with behavioral geneticists and courtroom professionals will exemplify these ideas.
ContributorsTaddeo, Sarah (Author) / Robert, Jason S (Thesis advisor) / Marchant, Gary (Committee member) / Hurlbut, James B (Committee member) / Arizona State University (Publisher)
Created2014
Description
I present in this dissertation a theory of moral disillusion. In chapter 1 I explain moral innocence and its loss. I show that becoming morally responsible requires shattering the illusion that one is not an appropriate candidate for the reactive attitudes. The morally responsible individual must understand that she can be an agent of wrongdoing. In chapter 2 I explore the nature of the understanding that accompanies the different phases of disillusion. I show that moral disillusion is an ability, not to follow moral principles, but to question them. In chapter 3 I argue that another phase of disillusion involves an acquaintance with evil. One shatters the illusion that only malicious individuals can be evildoers. Morally good people can also bring about evil. I conclude that evil is the exploitation of the extremely vulnerable. In chapters 4 and 5, I analyze more complex phases of moral disillusion. These stages are characterized by an understanding that one can be an agent of unchosen evil, that one might bring about evil even when pursuing the morally best course of action, and that one can be morally responsible for doing so. In order to understand unchosen evil and the tragedy of inescapable moral wrongdoing, the individual sees that moral responsibility ought to track what we care about, rather than what we believe. In chapter 6 I show that Kierkegaard's conception of the self is a philosophy of moral disillusion. I argue that his prescription that we shatter moral illusions is congruent with Harry Frankfurt's prescription that we ought to care about some things and not others. From this discussion emerges the explicit distinction between moral disillusion and moral goodness. Moreover, I conclude that the morally disillusioned are morally accountable for more than those still harboring moral illusions. Although moral disillusion does not entail becoming morally good, by acquiring the ability to raise questions about moral principles and to affect the content of one's cares, one acquires the ability to take responsibility for, and potentially minimize, evil. To have and understand these abilities, but not to care about them, increases one's moral accountability.
ContributorsGoldberg, Zachary J. (Author) / French, Peter A. (Thesis advisor) / Calhoun, Cheshire (Committee member) / Matustik, Martin (Committee member) / Arizona State University (Publisher)
Created2012
Description
This dissertation puts forth an account of moral responsibility. The central claim defended is that an agent's responsibility supervenes on the agent's mental states at the time of the action. I call the mental states that determine responsibility the agent's quality of will (QOW). QOW is taken to concern the agent's action, understood from an internal perspective, along with the agent's motivations, her actual beliefs about the action, and the beliefs she ought to have had about the action. This approach to responsibility has a number of surprising implications. First, blameworthiness can come apart from wrongness, and praiseworthiness from rightness. This is because responsibility is an internal notion and rightness and wrongness are external notions. Furthermore, agents can only be responsible for their QOW. It follows that agents cannot be responsible for the consequences of their actions. I further argue that one's QOW is determined by what one cares about. And the fact that we react to the QOW of others with morally reactive emotions, such as resentment and gratitude, shows that we care about QOW. The reactive attitudes can therefore be understood as ways in which we care about what others care about. Responsibility can be assessed by comparing one's actual QOW to the QOW one ought to have had.
ContributorsKhoury, Andrew (Author) / French, Peter A. (Thesis advisor) / Calhoun, Cheshire (Committee member) / Portmore, Douglas W. (Committee member) / Arizona State University (Publisher)
Created2011
Description
Responsibility for academic outcomes is an important factor to consider within the study of student motivation, yet measures for the construct remain elusive and inconsistent. The present study uses a new measure developed by Lauermann and Karabenick to assess students' sense of responsibility for their academic outcomes. This study examined the relationship between perceived academic control, implicit theory of intelligence, and student responsibility. Results were based on a sample of 152 undergraduate students. A significant relationship between perceived academic control and student responsibility was established. Results also indicated a significant association between implicit theory of intelligence and student responsibility; however, contrary to hypotheses, implicit theory did not mediate the relationship between perceived academic control and student responsibility.
ContributorsFishman, Evan Jacob (Author) / Nakagawa, Kathryn (Thesis advisor) / Jenefer, Husman (Committee member) / Elsie, Moore (Committee member) / Arizona State University (Publisher)
Created2012
Description
As automation becomes more prevalent in society, the frequency that systems involve interactive human-automation control increases. Previous studies have shown accountability to be a valuable way of eliciting human engagement and reducing various biases, but these studies have involved the presence of an authority figure during the research. The current research sought to explore the effect of accountability in the absence of an authority figure. To do this, 40 participants took part in this study by playing a microworld simulation. Half were told they would be interviewed after the simulation, and half were told data was not being collected. Eleven dependent variables were collected (accountability, number of resources shared, player score, agent score, combined score, and the six measures of the NASA- Task Load Index), of which statistical significance was found in number of resources shared, player score, and agent score. While not conclusive, the results suggest that accountability affects human-automation interactions even in the absence of an authority figure. It is suggested that future research seek to find a reliable way to measure accountability and examine how long accountability effects last.
ContributorsWilkins, Adam (Author) / Chiou, Erin K. (Thesis advisor) / Gray, Robert (Committee member) / Craig, Scotty (Committee member) / Arizona State University (Publisher)
Created2019
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
Description
After freelancing on my own for the past year and a half, I have realized that one of the biggest obstacles to college entrepreneurs is a fear or apprehension to sales. As a computer science major trying to sell my services, I discovered very quickly that I had not been prepared for the difficulty of learning sales. Sales get a bad rap and very often is the last thing that young entrepreneurs want to try, but the reality is that sales is oxygen to a company and a required skill for an entrepreneur. Due to this, I compiled all of my knowledge into an e-book for young entrepreneurs starting out to learn how to open up a conversation with a prospect all the way to closing them on the phone. Instead of starting from scratch like I did, college entrepreneurs can learn the bare basics of selling their own services, even if they are terrified of sales and what it entails. In this e-book, there are tips that I have learned to deal with my anxiety about sales such as taking the pressure off of yourself and prioritizing listening more than pitching. Instead of trying to teach sales expecting people to be natural sales people, this e-book takes the approach of helping entrepreneurs that are terrified of sales and show them how they can cope with this fear and still close a client. In the future, I hope young entrepreneurs will have access to more resources that handle this fear and make it much easier for them to learn it by themselves. This e-book is the first step.
ContributorsMead, Kevin Tyler (Author) / Sebold, Brent (Thesis director) / Kruse, Gabriel (Committee member) / Computer Science and Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05