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- Genre: Academic theses
Description
Residential historic preservation occurs through inhabitation. Through day-to-day domesticities a suite of bodily comportments and aesthetic practices are perpetually at work tearing and stitching the historic fabric anew. Such paradoxical practice materializes seemingly incompatible relations between past and present, people and things. Through a playful posture of experience/experiment, this dissertation attends to the materiality of historic habitation vis-à-vis practices and performances in the Coronado historic neighborhood (1907-1942) in Phoenix, Arizona. Characterized by diversity in the built and social environs, Coronado defies preservation's exclusionary tendencies. First, I propose a theoretical frame to account for the amorphous expression of nostalgia, the way it seeps, tugs, and lures `historic' people and things together. I push the argument that everyday nostalgic practice and performance in Coronado gives rise to an aesthetic of pastness that draws attention to what is near, a sensual attunement of care rather than strict adherence to preservation guidelines. Drawing on the institutional legacy of Neighborhood Housing Services, I then rethink residential historic preservation in Coronado as urban bricolage, the aesthetic ordering of urban space through practices of inclusivity, temporal juxtaposition, and the art of everyday living. Finally, I explore the historic practice of home touring in Coronado as demonstrative of urban hospitality, an opening of self and neighborhood toward other bodies, critical in the making of viable, ethical urban communities. These three moments contribute to the body of literature rethinking urbanism as sensual, enchanted, and hospitable.
ContributorsKitson, Jennifer (Author) / McHugh, Kevin (Thesis advisor) / Lukinbeal, Christopher (Committee member) / Bolin, Bob (Committee member) / Klett, Mark (Committee member) / Arizona State University (Publisher)
Created2013
Description
Western landscape photography helped to create an imaginative perception of a new nation for Americans. Early nineteenth-century photographers captured a vision of uncharted terrain that metaphorically fulfilled a two-fold illusion: an untouched Eden and a land ready and waiting for white settlement. The sublime and picturesque experiences of the West provided artists a concept that could be capitalized upon by employing various forms of manipulation. In the twentieth-century, the role of landscape photography evolved as did the advancement of the West. Images of wilderness became art and photographers chose to view the western landscape differently. Some focused more sharply and critically on the relationship between the land and the people who lived on it. The influential exhibition in 1975, New Topographics: Photographs of a Man-altered Landscape presented work that showed a landscape altered, marked by power lines, houses, and fences. The West as Eden no longer existed. Today, photographers continue to examine, image, and experience western land anew. In this thesis I examine the relationship of contemporary landscape photography and the role of the West, guided by an analysis that traces the history of American ideologies and attitudes toward natural land. The artists I have chosen recognize landscape not as scenery but as the spaces and systems people inhabit, and use manipulative strategies that emphasize an artificial character of the West. Their work elicits antecedent mythologies, pictorial models, and American ideologies that continue to perpetuate internationally.
ContributorsHerden, Nicole (Author) / Fahlman, Betsy (Thesis advisor) / Serwint, Nancy (Committee member) / Klett, Mark (Committee member) / Arizona State University (Publisher)
Created2013
Description
The manner in which land and water are used and managed is a major influencing factor of global environmental change. Globally, modifications to the landscape have drastically transformed social and ecological communities. Land and water management practices also influences people's vulnerability to hazards. Other interrelated factors are compounding problems of environmental change as a result of land and water use changes. Such factors include climate change, sea level rise, the frequency and severity of hurricanes, and increased populations in coastal regions. The implication of global climate change for small islands and small island communities is especially troublesome. Socially, small islands have a limited resource base, deal with varying degrees of insularity, generally have little political power, and have limited economic opportunities. The physical attributes of small islands also increase their vulnerability to global climate change, including limited land area, limited fresh water supplies, and greater distances to resources. The focus of this research project is to document place-specific - and in this case island-specific - human-environmental interactions from a political ecology perspective as a means to address local concerns and possible consequences of global environmental change. The place in which these interactions are examined is the barrier island and village of Ocracoke, North Carolina. I focus on the specific historical-geography of land and water management on Ocracoke as a means to examine relationships between local human-environmental interactions and environmental change.
ContributorsPompeii, Brian J (Author) / Bolin, Bob (Thesis advisor) / Boone, Christopher (Committee member) / Lukinbeal, Christopher (Committee member) / Arizona State University (Publisher)
Created2014
Description
Geography, and the social sciences more broadly, have long operated within what is arguably a paradigm of the visual. Expanding the reach of geographical consideration into the realm of the aural, though in no way leaving behind the visual, opens the discipline to new areas of human and cultural geography invisible in ocular-centric approaches. At its broadest level, my argument in this dissertation is that music can no longer be simply an object of geographical research. Re-conceptualized and re-theorized in a geographical context to take into account its very real, active, and more-than-representational presence in social life, music provides actual routes to geographic knowledge of the world. I start by constructing a theoretical framework and methodological approach for studying music beyond representation. Based on these theoretical and methodological arguments, I present four narratives that unfold at the intersections of race and music in the northeast Brazilian city of Salvador. From the favelas of Rio de Janeiro to the troubled neighborhood of the Pelourinho, from the manic tempos of samba to the laid back grooves of samba-reggae, and in the year-round competition between the oppressive forces of ordinary time and the fleeting possibility of carnival, music emerges as a creative societal force with affects and effects far beyond the realm of representation. Together, these narratives exemplify the importance of expanding geographical considerations beyond a strictly visual framework. These narratives contribute to the musicalization of the discipline of geography.
ContributorsFinn, John C (Author) / McHugh, Kevin (Thesis advisor) / Lukinbeal, Christopher (Committee member) / Bolin, Bob (Committee member) / Price, Patricia (Committee member) / Arizona State University (Publisher)
Created2011
Description
A Sense Of is a performance-based work that addresses the effects of the transformation of space, time, and energy through the various sensory modes. The work is an invitation to the artist's perspective of the world, which is combined with the performers' creative voices and interpretations of the artist's explorations into sensory awareness. The movement installation entitled A Sense Of was presented in November 2011. This document presents an overview of the project. It addresses relevant literature, examines the creative process used in the work, and provides an analysis of the project as a whole.
ContributorsUllom, Kathryn (Author) / Standley, Eileen (Thesis advisor) / Fitzgerald, Mary (Committee member) / Schupp, Karen (Committee member) / Klett, Mark (Committee member) / Arizona State University (Publisher)
Created2012
Description
Since the late 1990s thousands of new Border Patrol agents, hundreds of miles of fencing, and additional immigration checkpoints have been added to the Mexico-U.S. border region. This unprecedented increase in boundary enforcement has strained existing relationships and created new separations between people and places in the borderlands. Southwestern Arizona has been impacted in especially dramatic ways, as the “hardening” of the international boundary has transformed conservation and indigenous spaces into theaters of drug interdiction and immigration control. This dissertation explores this transformation in southwestern Arizona, a region that was known by Spanish Colonial administrators as the Papaguería. With the community of Ajo at the center of the narrative, this dissertation explores the ways that industry and conservation have long shaped the social relations and the landscape of the region. The destruction of old borders, the creation of new borders, and the redefinition of space has been an ongoing process that continues to define some groups of people as insiders and other groups as outsiders. In the current era of border security echoes from earlier colonial encounters reverberate into the present, shaping landscapes and the lives of local residents in the contemporary Papaguería in significant ways.
ContributorsWarren, Scott (Author) / Arreola, Daniel D (Thesis advisor) / Klett, Mark (Committee member) / Hirt, Paul (Committee member) / McHugh, Kevin E (Committee member) / Arizona State University (Publisher)
Created2015
Description
The complexity and interconnectedness of sustainability issues has led to the joining of disciplines. This effort has been primarily within the sciences with minimal attention given to the relationship between science and art. The exclusion of art is problematic since sustainability challenges are not only scientific and technical; they are also cultural, so the arts, as shapers of culture, are critical components that warrant representation. In addition to contributing to the production of culture, arts have also been credited as catalysts for scientific breakthroughs; thus it stands to reason that understanding art-science integration will benefit sustainability’s focus on use-inspired basic research. I focus on placing art and science on equal footing to enhance understanding of how individual artists-scientists and collaborative artist-scientist teams creatively address sustainability challenges. In other words, I address the question “What does it take to develop high functioning artists-scientists or artist-scientist collaborations?”
To answer this question, I used a multipronged approach to triangulate a richer understanding of what art-science synthesis offers sustainability and how it functions. First, I performed an historical analysis of a maladapted wilderness aesthetic and turned to the work Aldo Leopold – an exemplar of an artist-scientist – for a new sustainability aesthetic. Then, I engaged in an individual contemporary art practice, culminating in a gallery exhibit, which displayed ecologically-informed work from a three year study of my backyard. Finally, I conducted small group research of artist-scientist teams tasked with developing interpretive signage for the Tres Rios wetland site. For this final element, I collected survey, wearable sensor, and ethnographic data.
Through this composite research, I found that successful art-science practices require significant energy and time investment. Although art-science is most intensive in an individual practice where the person must become “fluent” in two disciplines, it is still challenging in a group setting where members must become “conversational” in each other’s work. However, successful art-science syntheses appear to result in improved communication skills, better problem articulation, more creative problem solving, and the questioning of personal and disciplinary mental models. Thus, the outcomes of such syntheses warrant the effort required at both the individual and collaborative level.
To answer this question, I used a multipronged approach to triangulate a richer understanding of what art-science synthesis offers sustainability and how it functions. First, I performed an historical analysis of a maladapted wilderness aesthetic and turned to the work Aldo Leopold – an exemplar of an artist-scientist – for a new sustainability aesthetic. Then, I engaged in an individual contemporary art practice, culminating in a gallery exhibit, which displayed ecologically-informed work from a three year study of my backyard. Finally, I conducted small group research of artist-scientist teams tasked with developing interpretive signage for the Tres Rios wetland site. For this final element, I collected survey, wearable sensor, and ethnographic data.
Through this composite research, I found that successful art-science practices require significant energy and time investment. Although art-science is most intensive in an individual practice where the person must become “fluent” in two disciplines, it is still challenging in a group setting where members must become “conversational” in each other’s work. However, successful art-science syntheses appear to result in improved communication skills, better problem articulation, more creative problem solving, and the questioning of personal and disciplinary mental models. Thus, the outcomes of such syntheses warrant the effort required at both the individual and collaborative level.
ContributorsCardenas, Edgar (Author) / Klett, Mark (Thesis advisor) / Minteer, Ben A (Thesis advisor) / Hackett, Edward J (Committee member) / Childers, Dan (Committee member) / Arizona State University (Publisher)
Created2015
Description
In 2001, a refugee group of unaccompanied minors known as the Lost Boys of Sudan began arriving in the United States. Their early years were met with extensive media coverage and scores of well-meaning volunteers in scattered resettlement locations across the country. Their story was told in television news reports, documentary films, and published memoirs. Updates regularly appeared in newsprint media. Scholars have criticized public depictions of refugees as frequently de-politicized, devoid of historical context, and often depicting voiceless masses of humanity rather than individuals with skills and histories (Malkki 1996, Harrell-Bond and Voutira 2007). These representations matter because they are both shaped by and shape what is possible in public discourse and everyday relations. This dissertation research creates an intersection where public representation and everyday practices meet. Through participant observation as a volunteer at a refugee community center in Phoenix, Arizona, this research explores the emotions, social roles and relations that underpin community formation, and investigates the narratives, representations, and performances that local Lost Boys and their publics engage in. I take the assertion that "refugee issues are one privileged site for the study of humanitarian interventions through which 'the international community' constitutes itself " (Malkki 1996: 378) and consider formation of local 'communities of feeling' (Riches and Dawson 1996) in order to offer a critique of humanitarianism as mobilized and enacted around the Lost Boys.
ContributorsAlexander, Melinda (Author) / McHugh, Kevin (Thesis advisor) / Catlaw, Thomas (Committee member) / Lukinbeal, Christopher (Committee member) / Menjivar, Cecilia (Committee member) / Arizona State University (Publisher)
Created2014