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Description
The Hohokam of central Arizona left behind evidence of a culture markedly different from and more complex than the small communities of O'odham farmers first encountered by Europeans in the sixteenth and seventeenth centuries A.D. Archaeologists have worked for well over a century to document Hohokam culture history, but much about Pre-Columbian life in the Sonoran Desert remains poorly understood. In particular, the organization of the Hohokam economy in the Phoenix Basin has been an elusive and complicated subject, despite having been the focus of much previous research. This dissertation provides an assessment of several working hypotheses regarding the organization and evolution of the pottery distribution sector of the Hohokam economy. This was accomplished using an agent-based modeling methodology known as pattern-oriented modeling. The objective of the research was to first identify a variety of economic models that may explain patterns of artifact distribution in the archaeological record. Those models were abstract representations of the real-world system theoretically drawn from different sources, including microeconomics, mathematics (network/graph theory), and economic anthropology. Next, the effort was turned toward implementing those hypotheses as agent-based models, and finally assessing whether or not any of the models were consistent with Hohokam ceramic datasets. The project's pattern-oriented modeling methodology led to the discard of several hypotheses, narrowing the range of plausible models of the organization of the Hohokam economy. The results suggest that for much of the Hohokam sequence a market-based system, perhaps structured around workshop procurement and shopkeeper merchandise, provided the means of distributing pottery from specialist producers to widely distributed consumers. Perhaps unsurprisingly, the results of this project are broadly consistent with earlier researchers' interpretations that the structure of the Hohokam economy evolved through time, growing more complex throughout the Preclassic, and undergoing a major reorganization resulting in a less complicated system at the transition to the Classic Period.
ContributorsWatts, Joshua (Author) / Abbott, David R. (Thesis advisor) / Barton, C Michael (Committee member) / Van Der Leeuw, Sander (Committee member) / Janssen, Marcus (Committee member) / Arizona State University (Publisher)
Created2013
Description
Adolescents' clay sculpture has been researched significantly less than their drawings. I spent approximately six weeks in a ceramics class located at a high school in a suburb of Phoenix, Arizona in order to explore how gender affected subject matter preference in students' three dimensional clay sculpture. Gender studies on children's drawings reveal that males favor fantasy, violence, aggression, sports, and power, while females favor realism, domestic and social experience, physical appearance, care and concern, nature and animals. My three main research questions in this study were 1) How did gender affect subject matter in adolescents' three-dimensional clay sculpture? 2) What similarities or differences existed between females' and males' subject matter preference in sculpture and their subject matter preference in drawing? 3) Assuming that significant gender differences existed, how successful would the students be with a project that favored opposite gender themed subject matter? I found that although males and females had gender differences between subject matter in their clay sculptures, there were exceptions. In addition, the nature of clay affected this study in many ways. Teachers and students need to be well prepared for issues that arise during construction of clay sculptures so that students are able to use clay to fully express their ideas.
ContributorsMarsili, Teresa (Author) / Stokrocki, Mary (Thesis advisor) / Young, Bernard (Committee member) / Erickson, Mary (Committee member) / Arizona State University (Publisher)
Created2011
Description
The Beauty Within is a ceramics show displaying human body anatomy, which seeks to bridge aspects of my biological sciences major in the School of Life Sciences with aspects of my studio art minor in the Herberger Institute for Design and the Arts. My goal in creating the show was to change the opinion of people on human body organs from unease to admiration by recreating these organs in an artistic light. By stylizing the construction of the pieces and bringing in the contemporary form of art \u2014 makeup art \u2014 I hoped to bring a new light to the pieces and highlight the beauty within the human body. By leaving the pieces partly unfinished I further hoped to draw attention to the natural beauty within the pieces regardless of the makeup that covers them. By holding the show in the human anatomy lab room on campus and having both animal and human organs on display I was able to create that sense of disgust toward the organs in the viewers. The beauty of my created pieces was then directly contrasted with the disgust felt about the real organs by displaying each of my pieces next to a real organ. The reactions of the viewers reflected a change in view from the actual organs to my re-created organs, and therefore the goal of the show was achieved.
ContributorsThomas, Brandon Lee (Author) / Weiser, Kurt (Thesis director) / Chung, Samuel (Committee member) / School of Art (Contributor) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
This paper studies the change in social diversity and interaction space from the Classic to Postclassic periods in the Mimbres Valley and East Mimbres Area. Between the Classic and Postclassic periods the Mimbres region of the American Southwest exhibits an increase in diversity of ceramic wares. Previous research suggests that increased diversity of ceramics indicates a more diverse community, which could pose challenges to local social interaction (Nelson et al. 2011). I am interested in whether the architecture of plazas, focal points of communities' social structures, change in response to the growing social diversity. To examine this, I quantify the diversity of painted ceramics at Classic and Postclassic villages as well as the extent of the enclosure of plazas. I find that there is a definite shift towards greater plaza enclosure between the Classic and Postclassic periods. I conclude this paper with a discussion of possible interpretations of this trend regarding the social reactions of Mimbres communities to the changes which reshaped the region between the Classic and Postclassic periods.
ContributorsHarkness, Rebecca Jean (Author) / Nelson, Margaret (Thesis director) / Hegmon, Michelle (Committee member) / Barrett, The Honors College (Contributor) / School of Human Evolution and Social Change (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2015-05
Description
Social media has forced us to more publicly define who we should be apart from who we are. In the age of technology, there is an increased societal pressure to hide imperfection - to keep the raw, sensitive aspects of our lives to ourselves. For my honors thesis/creative project, I chose to explore the disparities between the lives we share in person and the lives we share online. As a BFA student in Ceramics, I wanted to use the skills and techniques I've acquired throughout my years in college to visually represent my personal observations of social media use, identity in the age of technology, and the taboo of imperfection. My motivation for this project was to question, what is reality? I believe social media has led to an environment of under sharing. We share what's easy, what's happy, what's comfortable. Either that, or we focus on the negative, discounting the blessings and privilege we are so lucky to have. Positive or negative, this platform is a shallow way to communicate and understand humanity. There is always some underlying insecurity, anxiety, or tragedy behind every success or celebration. After reflecting on these insights, I continued my research by exploring aspects of different imagery, form, and function in clay. Ultimately, I decided to create a series of four interactive head sculptures. My main objectives for these sculptures were to embody issues of mental health, reference social media, and to have the viewer interact with the pieces.
ContributorsMegehee, Mary Grace (Author) / Beiner, Susan (Thesis director) / Chung, Samuel (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
There is a wide intersection where animal and human lives interact or mimic each other behaviorally or biologically. A lot of the products that are part of our day-to-day were first validated by animals, and eventually found their way to us. From food to beauty products to scientific developments, animals deal with a lot behind the scenes. Some humans are cognizant of what is happening backstage, while others only see the final presentation. Either way, all of us have our opinions in support or against animal treatment. The project is heavily inspired from my experience in a neurorehabilitation lab, so the foundation is similar to the structure and function of neurons. Through this project, I am focusing on one aspect of this debate, which is animal testing in the scietific setting. The goal of the project is not to force the viewer to choose one side, but to understand the big picture and the reasoning of the opposing side.
ContributorsSharma, Bhavya (Author) / Beiner, Susan (Thesis director) / Roberson, Robert (Committee member) / Harrington Bioengineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
Achieving a viable process for advanced manufacturing of ceramics and metal-ceramic composites is a sought-after goal in a wide range of fields including electronics and sensors for harsh environments, microelectromechanical devices, energy storage materials, and structural materials, among others. In this dissertation, the processing, and manufacturing of ceramics and ceramic composites are addressed, specifically, a process for three-dimensional (3D) printing of polymer-derived ceramics (PDC), and a process for low-cost manufacturing as well as healing of metal-ceramic composites is demonstrated.Three-dimensional printing of ceramics is enabled by dispensing the preceramic polymer at the tip of a moving nozzle into a gel that can reversibly switch between fluid and solid states, and subsequently thermally cross-linking the entire printed part “at once” while still inside the same gel was demonstrated. The solid gel converts to fluid at the tip of the moving nozzle, allowing the polymer solution to be dispensed and quickly returns to a solid state to maintain the geometry of the printed polymer both during printing and the subsequent high-temperature (160 °C) cross-linking. After retrieving the cross-linked part from the gel, the green body is converted to ceramic by high-temperature pyrolysis. This scalable process opens new opportunities for low-cost and high-speed production of complex three-dimensional ceramic parts and will be widely used for high-temperature and corrosive environment applications, including electronics and sensors, microelectromechanical systems, energy, and structural applications.
Metal-ceramic composites are technologically significant as structural and functional materials and are among the most expensive materials to manufacture and repair. Hence, technologies for self-healing metal-ceramic composites are important. Here, a concept to fabricate and heal co-continuous metal-ceramic composites at room temperature were demonstrated. The composites were fabricated by infiltration of metal (here Copper) into a porous alumina preform (fabricated by freeze-casting) through electroplating; a low-temperature and low-cost process for the fabrication of such composites. Additionally, the same electroplating process was demonstrated for healing damages such as grooves and cracks in the original composite, such that the healed composite recovered its strength by more than 80%. Such technology may be expanded toward fully autonomous self-healing structures.
ContributorsMahmoudi, Mohammadreza (Author) / Minary-Jolandan, Majid (Thesis advisor) / Rajagopalan, Jagannathan (Committee member) / Cramer, Corson (Committee member) / Kang, Wonmo (Committee member) / Bhate, Dhruv (Committee member) / Arizona State University (Publisher)
Created2022
Description
I propose a new approach for the analysis of social transformations within the context of colonialism. Drawing on concepts used by historical sociologists, combined with insights from historians and archaeologists, I forge a synthesis of relational mechanisms that concatenated into processes of categorical change. Within the social sciences, mechanisms are formally defined as specific classes of events or social interactions that are causally linked and tend to repeat under specific conditions, potentially resulting in widespread social transformations. Examples of mechanisms include formal inscription through spatial segregation and adjustments in individual position through socioeconomic mobility.
For New Spain, historians have identified at least three macroscale shifts in the social structure of the viceroyalty. I examine the mechanisms that led to these changes in two distinct contexts. The Port of Veracruz (Mexico), located along the main axis of colonial exchange, offers a shifting baseline for comparison of the long-term trajectory of colonial interaction and categorical change. I undertake a finer grain study at the borderland presidios of Northwest Florida, where three presidios were sequentially occupied (AD 1698-1763) and historically linked to Veracruz through formal recruitment and governmental supply.
My analysis draws on two independent lines of evidence. Historically, I examine census records, maps, and other colonial documents. Archaeologically, I assess change in interaction mainly through technological style analysis, compositional characterization, and the distribution of low visibility plain and lead-glazed utilitarian wares. I document the active expression of social categories through changing consumption of highly visible serving vessels.
This study demonstrates that colonial transformations were driven locally from the bottom up and through the top-down responses of local and imperial elites who attempted to maintain control over labor and resources. Social changes in Florida and Veracruz were distinct based upon initial conditions and historical contingencies, yet simultaneously were influenced by and contributed to broad trajectories of macroscale colonial transformations.
For New Spain, historians have identified at least three macroscale shifts in the social structure of the viceroyalty. I examine the mechanisms that led to these changes in two distinct contexts. The Port of Veracruz (Mexico), located along the main axis of colonial exchange, offers a shifting baseline for comparison of the long-term trajectory of colonial interaction and categorical change. I undertake a finer grain study at the borderland presidios of Northwest Florida, where three presidios were sequentially occupied (AD 1698-1763) and historically linked to Veracruz through formal recruitment and governmental supply.
My analysis draws on two independent lines of evidence. Historically, I examine census records, maps, and other colonial documents. Archaeologically, I assess change in interaction mainly through technological style analysis, compositional characterization, and the distribution of low visibility plain and lead-glazed utilitarian wares. I document the active expression of social categories through changing consumption of highly visible serving vessels.
This study demonstrates that colonial transformations were driven locally from the bottom up and through the top-down responses of local and imperial elites who attempted to maintain control over labor and resources. Social changes in Florida and Veracruz were distinct based upon initial conditions and historical contingencies, yet simultaneously were influenced by and contributed to broad trajectories of macroscale colonial transformations.
ContributorsEschbach, Krista (Author) / Stark, Barbara L. (Thesis advisor) / Smith, Michael E. (Thesis advisor) / Alexander, Rani T (Committee member) / Worth, John E. (Committee member) / Bearat, Hamdallah (Committee member) / Peeples, Matthew A. (Committee member) / Arizona State University (Publisher)
Created2019
Description
This thesis explores the introduction of Virgil Ortiz’s traditional Cochiti pueblo ceramic techniques and iconic imagery into the world of contemporary atmospheric high fired ceramics. Virgil is a multidimensional artist who has been working in ceramics since the age of 12, practicing the traditional hand building and decoration methods of his ancestral pueblo (1 traditional work) . In recent years, Virgil has begun to explore the use of modern materials and firing techniques in order to further his work and break into the contemporary ceramics community (2 modern materials). Virgil’s style is very figurative, sculpting human and human-like figures, and illustrating large vessels in the Cochiti traditional style, while incorporating his own characters, story lines and social commentaries.
Virgil and I met in 2019 while Virgil was performing a ceramics demo at the ASU Ceramics facilities. We collaborated on Virgil’s first line of completely handmade functional wares for his collaborative show at the ReVOlt gallery for Indian Market, Santa Fe 2019. In 2020, Virgil came to ASU as a visiting artist faculty and began work on larger pieces using more sculptural clays and exploring internal support structures under the guidance of myself and artist Ben Jackel. Seeing this large work and the opportunity to build on this, renowned art critic and appraiser Peter Held brought myself and Virgil to Reitz Ranch Center for Ceramic Arts, the former studio and home of Don Reitz. Don was an American master, building huge vessels and sculptures and firing them in salt, soda and wood kilns built on his property. He built a particularly larger Anagama style kiln, deemed the Reitz-agama, which measures 60in tall and 30 feet deep, specifically to be able to wood fire his massive wares. Don’s work is visceral and emotional, made with a heavy hand and minimally glazed, allowing for the buildup of wood ash and salt from the atmospheric firings to complete their surfaces. The ranch still holds all of his kilns, and hundreds of his pieces from years of success and failures. The owner of the ranch Sheryl Leigh-Devault, and Don’s former assistant Ben Roti, invited Virgil and I up to work at the ranch any time we wanted during this visit, and due to the closures of ASU studios and a desire to push our work together further than we ever had before, we orchestrated a week visit. This week visit developed into two weeks, and had since developed further into a one and a half month short term quarantine residency.
Virgil and I met in 2019 while Virgil was performing a ceramics demo at the ASU Ceramics facilities. We collaborated on Virgil’s first line of completely handmade functional wares for his collaborative show at the ReVOlt gallery for Indian Market, Santa Fe 2019. In 2020, Virgil came to ASU as a visiting artist faculty and began work on larger pieces using more sculptural clays and exploring internal support structures under the guidance of myself and artist Ben Jackel. Seeing this large work and the opportunity to build on this, renowned art critic and appraiser Peter Held brought myself and Virgil to Reitz Ranch Center for Ceramic Arts, the former studio and home of Don Reitz. Don was an American master, building huge vessels and sculptures and firing them in salt, soda and wood kilns built on his property. He built a particularly larger Anagama style kiln, deemed the Reitz-agama, which measures 60in tall and 30 feet deep, specifically to be able to wood fire his massive wares. Don’s work is visceral and emotional, made with a heavy hand and minimally glazed, allowing for the buildup of wood ash and salt from the atmospheric firings to complete their surfaces. The ranch still holds all of his kilns, and hundreds of his pieces from years of success and failures. The owner of the ranch Sheryl Leigh-Devault, and Don’s former assistant Ben Roti, invited Virgil and I up to work at the ranch any time we wanted during this visit, and due to the closures of ASU studios and a desire to push our work together further than we ever had before, we orchestrated a week visit. This week visit developed into two weeks, and had since developed further into a one and a half month short term quarantine residency.
ContributorsSmith, Andrew Walton Lee (Author) / Chung, Samuel (Thesis director) / Ortiz, Virgil (Committee member) / Harrington Bioengineering Program (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Items that have once served as tools in the past become something of greater value in the future: art. Ceramics is a craft that has gone beyond its simple functions to become a representative medium. This ability makes ceramics an art. This will be demonstrated by representing enzyme-substrate binding and inhibition through the use of a dinner set.
ContributorsMahmud, Ali (Author) / Chung, Sam (Thesis director) / Weiser, Kurt (Committee member) / School of Art (Contributor) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05