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- All Subjects: Creative Project
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
- Resource Type: Text
- Status: Published
Description
According to the 2010 census, 40 million people living in the United States were foreign-born, meaning they were not U.S. citizens at birth (2). The Harvard Business Review also said that "In 2017, strong growth across most of the world propelled the DHL Global Connectedness Index to a record high. The proportions of trade, capital, information, and people flow crossing national borders all increased significantly" (7). With the U.S. being a cultural "mixing pot" and the world being more globalized than ever before, we must incorporate global citizenship education in our school systems. Growing Global is a creative project thesis that explores the idea of a global citizenship after-school program for youth in the Tempe Public School District. The outcomes of this project will be a proposal for the program, a curriculum outline including three examples of lesson plans [see Exhibit 1], student surveys for measuring curriculum effectiveness [see Exhibit 3], and an educator training guide and preparedness assessment [see Exhibits 2 and 4]. The Growing Global project proposal will cover the need for the program, a program timeline and explanation, the impact it will hold and how to measure it, potential barriers, the capacity of the team and its resources, and the budget for piloting the program.
ContributorsCompton, Karrissa (Author) / Burns, Kevin (Thesis director) / Larson, Elizabeth (Committee member) / Department of Management and Entrepreneurship (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Alife is an event searching and event publishing website written in C# using the MVC software design pattern. Alife aims to offer a platform for student organizations to publish their events while enabling ASU students to browse, search, and filter events based on date, location, keywords, and category tags. Alife can also retrieve events information from the official ASU Event website, parse the keywords of the events and assign category tags to them. Alife project explores many concepts of Distributed Service-Oriented software development, such as server-side development, MVC architecture, client-side development, database integration, web service development and consuming.
ContributorsWu, Mengqi (Author) / Chen, Yinong (Thesis director) / Feng, Xuerong (Committee member) / Computer Science and Engineering Program (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
"Damietta" is a graphic novel that tells the story of my grandparents, Aziza and Mostafa, and their separate journeys from Egypt to the United States to pursue an education. Using elements of color, form, and narrative style, the graphic novel seeks to put the reader into the perspective of a young immigrant seeking a future in an entirely new land. In completing this project, I had to interview my grandparents, illustrate 51 pages on a computer, transpose interviews into a first person story, and learn how to publish a book. As a result of this process, I learned it is wise to start early, make a consistent work schedule, and make multiple rounds of revisions.
ContributorsDeadrick, Samuel W (Author) / Brown, Keith (Thesis director) / Button, Melissa (Committee member) / Mechanical and Aerospace Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The thesis I completed for Barrett, The Honors College was created as a method to develop and strengthen my long-form storytelling abilities. The goal of my creative project was to create the first draft of a stage musical and mount it in a reading or workshop of some kind. I reached this goal and then some with the help of my directors and two wonderful Barrett students that helped me along the way: Mallory Smith and Ethan Fox. We completed the first draft of the show and then held a read-through with a full cast of actors, with almost twenty people attending.
Then, I went back and used some of the feedback from the read-through to write another draft of the show. However, along the way, I took a few major creative turns and ended up with a story that was similar to the first draft in many ways but was ultimately a larger divergence than I originally anticipated. This was a blessing, as it forced me to re-evaluate multiple creative decisions I’d made and gave me two long-form stories with great potential to work with rather than just one. It also presented multiple opportunities to combine and enhance both ideas in order to write one strong story using both concepts. The beauty of this Creative Project is that my portfolio is much stronger for having completed it and I now have multiple paths to choose from to move this project forward in the future.
In the defense, I discussed the grueling process of actually writing these scripts, hosting a read-through as well as the possibilities for both stories in the future. We also discussed the possibility of taking these scripts and pitching them to companies like Samuel French and in hopes that they’re sold, licensed and performed in perpetuity. I’m grateful to my directors, Professors Jason Scott and Gregory Maday, for always pushing me and cutting me slack when I fell behind and to my friends and the wonderful support the Honors College has given me throughout the last four years.
Then, I went back and used some of the feedback from the read-through to write another draft of the show. However, along the way, I took a few major creative turns and ended up with a story that was similar to the first draft in many ways but was ultimately a larger divergence than I originally anticipated. This was a blessing, as it forced me to re-evaluate multiple creative decisions I’d made and gave me two long-form stories with great potential to work with rather than just one. It also presented multiple opportunities to combine and enhance both ideas in order to write one strong story using both concepts. The beauty of this Creative Project is that my portfolio is much stronger for having completed it and I now have multiple paths to choose from to move this project forward in the future.
In the defense, I discussed the grueling process of actually writing these scripts, hosting a read-through as well as the possibilities for both stories in the future. We also discussed the possibility of taking these scripts and pitching them to companies like Samuel French and in hopes that they’re sold, licensed and performed in perpetuity. I’m grateful to my directors, Professors Jason Scott and Gregory Maday, for always pushing me and cutting me slack when I fell behind and to my friends and the wonderful support the Honors College has given me throughout the last four years.
ContributorsWright, Andrew John (Author) / Scott, Jason (Thesis director) / Maday, Gregory (Committee member) / School of Film, Dance and Theatre (Contributor) / Dean, W.P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
For my creative project, I challenged myself to host my first ever photo gallery. After three years of documenting artists at music festivals and building an impressive portfolio, I felt inspired to display my work in a proper gallery setting. I partnered with another local music photographer and together, we hosted a collaborative pop-up photo gallery at Shady Park in Tempe. Research and analysis of the modernization and widespread success of the recent pop-up phenomenon suggests that hosting a photo gallery in this format is an effective way of appealing to a predominantly millennial audience. This notion was proven valid by the large volume of interest we received during marketing pushes, the high attendance at the gallery itself, and significant social media engagement and reactions received during and after the event. Although no prints were sold, the gallery was considered a success because it served its intended purpose of providing two young artists with a space to showcase work, open themselves to critique, and make new fans.
ContributorsElwell, Nicholas (Author) / Trujillo, Rhett (Thesis director) / Giles, Bret (Committee member) / Department of Marketing (Contributor) / Department of Management and Entrepreneurship (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The definition of a service animal is often misunderstood by the public. This makes life more difficult for individuals with disabilities who rely on service animals to function and navigate through society.
“Arizona Service Animals” is a creative project in the form of a website
( ArizonaServiceAnimals.com ) designed to provide the public with information,
resources, and true stories about service animals in the state of Arizona.
The site covers the different types of support animals, the training process, the legal rights of service animal handlers and businesses, and Arizona’s new law regarding fake service animals.
It also includes the stories of real service animal handlers and trainers who share their experiences and explain what they would like the public to know.
This paper provides context into the history of dogs and service dogs, as well as
information on the three types of support animals. It also includes the methodology of the project.
“Arizona Service Animals” is a creative project in the form of a website
( ArizonaServiceAnimals.com ) designed to provide the public with information,
resources, and true stories about service animals in the state of Arizona.
The site covers the different types of support animals, the training process, the legal rights of service animal handlers and businesses, and Arizona’s new law regarding fake service animals.
It also includes the stories of real service animal handlers and trainers who share their experiences and explain what they would like the public to know.
This paper provides context into the history of dogs and service dogs, as well as
information on the three types of support animals. It also includes the methodology of the project.
ContributorsMason, Skylar (Author) / Gilger, Kristin (Thesis director) / Pucci, Jessica (Committee member) / Saucier, Fernanda (Committee member) / Walter Cronkite School of Journalism & Mass Comm (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
This performance attempts to decolonize possibilities for love through unarcheology, an invented method intended to re-narrate artifacts "dug up" by institutions of oppressive power and utilized in service of particular ideologies. Through unarcheologies of Sirhan Sirhan, the performer's father, and the performer's own body, the performance offers a critical call for us to examine the ways that colonial logics of criminality, threat, and wrongness always already implicate Palestinian bodies and our relations with them.
Rhetorics of criminality have long been written onto Palestinian bodies. From Dareen Tatour's imprisonment by the state of Israel to the U.S. detaining Adham Hassoun indefinitely as a "security threat", these rhetorics lead to material violence against Palestinians on a global scale, as well as on a discursive and interpersonal level. Communicative work which seeks to decolonize the Palestinian body in its various settings is vital to our survival in literal as well as symbolic ways. From a postcolonial perspective, we cannot extricate the individual from the communal, the local, the national, the global nor the universal. A postcolonial understanding of "survival" demands that we reflexively interrogate the Palestinian body in its sociohistorical complexity and on its own terms.
Autoethnography is uniquely situated as a method for postcolonial analyses of Palestinian survival. Chawla and Atay argue, "postcolonialism and autoethnography are inherently self-reflexive practices… that necessitate a centering of both the subject–object within a local and historical context" (4). In this performance, I introduce "unarcheology" as a postcolonial method for learning to love the Palestinian body. Using media and embodied performance, I stage a series of scripts comprised of poetic autoethnographic reflection, repurposed diary entries from an archetypal Palestinian "criminal," and the text of my father's indictment. These scripts, composed through a queer, collage-like method I call "unarcheology," are separated into temporal sections (past, present, and future) and audience members determine the order of their performance, thus demanding direct engagement in the performance's decolonial project. Staged on and around a single pile of dirt, this performance interrogates colonial barriers of criminality preventing the capacity to critically love Palestinians. It documents the survival that Palestinians are forced to embody- its goal, however, is the pursuit of critical, generous, decolonized love.
Rhetorics of criminality have long been written onto Palestinian bodies. From Dareen Tatour's imprisonment by the state of Israel to the U.S. detaining Adham Hassoun indefinitely as a "security threat", these rhetorics lead to material violence against Palestinians on a global scale, as well as on a discursive and interpersonal level. Communicative work which seeks to decolonize the Palestinian body in its various settings is vital to our survival in literal as well as symbolic ways. From a postcolonial perspective, we cannot extricate the individual from the communal, the local, the national, the global nor the universal. A postcolonial understanding of "survival" demands that we reflexively interrogate the Palestinian body in its sociohistorical complexity and on its own terms.
Autoethnography is uniquely situated as a method for postcolonial analyses of Palestinian survival. Chawla and Atay argue, "postcolonialism and autoethnography are inherently self-reflexive practices… that necessitate a centering of both the subject–object within a local and historical context" (4). In this performance, I introduce "unarcheology" as a postcolonial method for learning to love the Palestinian body. Using media and embodied performance, I stage a series of scripts comprised of poetic autoethnographic reflection, repurposed diary entries from an archetypal Palestinian "criminal," and the text of my father's indictment. These scripts, composed through a queer, collage-like method I call "unarcheology," are separated into temporal sections (past, present, and future) and audience members determine the order of their performance, thus demanding direct engagement in the performance's decolonial project. Staged on and around a single pile of dirt, this performance interrogates colonial barriers of criminality preventing the capacity to critically love Palestinians. It documents the survival that Palestinians are forced to embody- its goal, however, is the pursuit of critical, generous, decolonized love.
ContributorsTbakhi, Nissim Dawn (Author) / Linde, Jennifer (Thesis director) / Rohd, Michael (Committee member) / LeMaster, Benjamin (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Diana Holladay was a mother, sister, daughter, wife, grandmother, friend, and artist. She played many roles and impacted many lives. She sought out beauty and brought it into the world through her art. When she was diagnosed with Alzheimer’s disease her family watched her fade away. The Diana they knew and loved was no longer there. They could not mourn the loss of her being. This creative project served the purpose of exploring Diana’s past and art in order to help her family mourn and celebrate the woman she once was. The goal was to create a final art show and living memorial for Diana. The final art show would foster a sense of family, appreciation, and love. She had hundreds, if not thousands of sketches and pictures. She had a huge collection of painting left behind. During this project they were collected and organized for the show. Diana died exactly one month before the show. Her death brought her family together and helped them mourn. The art show was held in the Sedona Art Center where Diana once held art classes and her husband, Jim, layed the sandstone on the outside of the building. After her death, the attendance of her show nearly tripled. Hundreds of Diana’s family and friends celebrated this amazing woman. This creative project helped honor an incredible woman who truly changed lives and lead her life with love. This thesis helped us remember the woman and artist Diana Holladay was before her diagnosis and death. The final creation of this project was a website dedicated to Diana and her art and an essay describing the journey of this thesis.
www.dianaholladay.com
www.dianaholladay.com
ContributorsTiedeman, Talon Xalee (Author) / Meloy, Elizabeth (Thesis director) / Epperson, Tasili (Committee member) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The Honors Creative Project evolved drastically from start to finish, despite its origin remaining the same. My core goal in this project was to connect two seemingly mutually exclusive aspects of my life, engineering and dance. After conducting an IRB study and using data from my own personal experiences, I was able to see how dance had in fact made me a better engineer. There were skills that I gained and learned in dance that were directly applicable to engineering, and I believe will be critical to my success as an engineer. As the focal point of the project angled towards myself, I had to look deeply into who I am and how I reached this point. I conducted self-reflections on various aspects of my current life and also on the struggles and hardships I overcame during my years at ASU. From these reflections, I learned a lot about myself and how my personal identity has evolved. This identity evolution became the backbone behind my thesis defense. I took my research and self-reflections and designed a series of artwork that I personally designed and painted myself. I my engineering side to conduct the research and collect the data, and then used my artistic side to present my findings to the public in a way that attracted and audience and caused others to reflect upon their own identities.
ContributorsArizmendi, Romann Fuentes (Author) / Olarte, David (Thesis director) / Welz, Matt (Committee member) / Harrington Bioengineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Fashion is an inherently political and reflective medium for the daily ramblings and revolutions of a society. Much of the time the influence is subtle. Silhouettes and fabrics reflect different stances on conservatism, on sex, on the degrees to which we fetishize luxury, and on infinite other attitudes of an era. Other times the influence is extremely direct, with text printed on the clothing that explicitly articulates a current societal dynamic. I began exploring fashion in 2016, as the country had reached an unprecedented and linguistically weaponized divide.
While taking a fashion technology course under the instruction of Galina Mihaleva, I developed a tracksuit incorporating concealed LED displays that are capable of scrolling customizable text on the sides of the garment. I expanded on this futuristic execution of politically charged clothes by utilizing a more realistic application of the LED technology in the Bouis Vuitton project. This project is a collection of six white vinyl bags with semi-flexible LED displays projecting revolutionary slogans through the vinyl textile.
The bags act as an appropriate housing for technology that is intended for significantly longer use, as bags have a longer lifespan in wardrobes than clothes and return to trend more frequently. The production investment in the technology is more equitable to the investment in the production of a bag and facilitates the wearer’s broadcasting of concise messages. The result is a collection of functional, utilitarian pieces with a clean, futuristic look and a mixed modern and vintage silhouette scrolling pro-revolutionary messages.
Broadcasting the knock-off name ‘BOUIS VUITTON’, I’ve inserted only my first initial into the reputable luxury company and paired it with slogans: ‘EAT THE RICH’ and ‘HEADS WILL ROLL’. The collection articulates a sense of nihilism felt by the youngest generations growing up on the outside of a very exclusive economic and political sphere. Three upcycled vintage luggage pieces evoke associations with the white American upper-class society of the 1960s. The luggage pieces were retrofitted in white vinyl and white-enameled metal fixtures. Three additional soft bags made of the same material reflect a utilitarian style of functional bags on trend with Spring/Summer 2019 streetwear. For the runway presentation of the bags, the models are dressed in navy-colored Dickies boiler suits, white retro-style Fila sneakers, and white ascots reminiscent of the historical male ruffled cravat. The contradictions of iconic silhouettes from both upper and lower-class American fashion history further the juxtaposition of anti-capitalist slogans posted on luxury goods.
Bouis Vuitton: Bags for the Revolution is intended to embody an unapologetic disregard for established wealth and political power in the most public of venues: the sidewalk, the mall, the high and the low-income neighborhoods – wherever people are wearing clothes. Fashion is the modern protest that requires no permit, and the new poster is a luxury bag.
While taking a fashion technology course under the instruction of Galina Mihaleva, I developed a tracksuit incorporating concealed LED displays that are capable of scrolling customizable text on the sides of the garment. I expanded on this futuristic execution of politically charged clothes by utilizing a more realistic application of the LED technology in the Bouis Vuitton project. This project is a collection of six white vinyl bags with semi-flexible LED displays projecting revolutionary slogans through the vinyl textile.
The bags act as an appropriate housing for technology that is intended for significantly longer use, as bags have a longer lifespan in wardrobes than clothes and return to trend more frequently. The production investment in the technology is more equitable to the investment in the production of a bag and facilitates the wearer’s broadcasting of concise messages. The result is a collection of functional, utilitarian pieces with a clean, futuristic look and a mixed modern and vintage silhouette scrolling pro-revolutionary messages.
Broadcasting the knock-off name ‘BOUIS VUITTON’, I’ve inserted only my first initial into the reputable luxury company and paired it with slogans: ‘EAT THE RICH’ and ‘HEADS WILL ROLL’. The collection articulates a sense of nihilism felt by the youngest generations growing up on the outside of a very exclusive economic and political sphere. Three upcycled vintage luggage pieces evoke associations with the white American upper-class society of the 1960s. The luggage pieces were retrofitted in white vinyl and white-enameled metal fixtures. Three additional soft bags made of the same material reflect a utilitarian style of functional bags on trend with Spring/Summer 2019 streetwear. For the runway presentation of the bags, the models are dressed in navy-colored Dickies boiler suits, white retro-style Fila sneakers, and white ascots reminiscent of the historical male ruffled cravat. The contradictions of iconic silhouettes from both upper and lower-class American fashion history further the juxtaposition of anti-capitalist slogans posted on luxury goods.
Bouis Vuitton: Bags for the Revolution is intended to embody an unapologetic disregard for established wealth and political power in the most public of venues: the sidewalk, the mall, the high and the low-income neighborhoods – wherever people are wearing clothes. Fashion is the modern protest that requires no permit, and the new poster is a luxury bag.
ContributorsViton, Benjamin Douglas (Author) / Sewell, Dennita (Thesis director) / Mihaleva, Galina (Committee member) / School of Art (Contributor) / College of Integrative Sciences and Arts (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05