Matching Items (56)
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
Description
When renowned cartographer and mountaineer Brad Washburn visited the Grand Canyon in 1969, he discovered that existing maps of the area were "inadequate" for either popular or scholarly use. Never one to be deterred, Washburn set about making one. This is the story of his 7-year-long effort, done in close collaboration with the National Geographic Society, Switzerland's Federal Office of Topography, and scores of supporting characters, to satisfy his desire to produce the best map of the canyon -- more precise, more detailed, more beautiful -- than anything that had come before.
ContributorsFry, Michael (Author, Speaker) / ASU Marketing Hub (Videographer)
Created2019-02-28
Description
In 1985, Arizona Governor Bruce Babbitt and several others officially registered the Grand Canyon Trust as a non-profit organization dedicated to defending the natural integrity of the Grand Canyon. But the Trust realized early on that issues don’t stop at the boundaries of Grand Canyon National Park. So in 1987, we expanded the scope of our work to encompass the entire Colorado Plateau, of which the Grand Canyon stands as the centerpiece. GIS at the Trust helps tell the historic and current conservation story through advanced cartography, interactive web mapping, and spatial analysis. Using art and science, we design maps that illustrate physical characteristics, cultural values, proposals and conservation actions, and vulnerabilities across the Colorado Plateau. Our work reaches a broad audience including policy-makers, constituencies, government agencies, and our supporters. This presentation will highlight some of our most recent work in and around Grand Canyon, challenges we face as geographers, and how our maps have been used to further protect the Grand Canyon.
ContributorsSmith, Stephanie (Author, Speaker) / ASU Marketing Hub (Videographer)
Created2019-03-01
Description
Grand Canyon is a dynamic natural landscape that encodes nearly two billion years of geological history, and which is also situated within a cultural landscape that encodes the names, experiences, and lives of people from ancestral Native Americans to American explorers and settlers to modern visitors from across the nation and around the world. Place-based ways of teaching integrate the natural and the cultural attributes of a place or region such as Grand Canyon to facilitate learning. For the last century, Grand Canyon National Park has offered interpretive programs and resources to visitors that hew to this place-based philosophy, enabling millions of Park visitors to make intellectual and emotional connections to the landscape and its natural and cultural history. Geological and educational research have contributed to the interpretive mission of the Park with new research-based resources such as the Trail of Time Exhibition. Even more recently, advances in visualization and instructional technology have brought the pedagogical power of Grand Canyon to the online realm through immersive, interactive virtual field trips (iVFTs), which have the potential to enable many millions more to explore and learn from the natural and cultural landscapes of Grand Canyon, including its most physically inaccessible places. Current research is directed toward rendering iVFTs ever more authentic and place-based, while also enhancing the accessibility and effectiveness of in-person field experiences for visitors and students at Grand Canyon.
ContributorsSemken, Steven (Author, Speaker) / ASU Marketing Hub (Videographer)
Created2019-03-01
Description
Over 700 known deaths have occurred in Grand Canyon from the first river exploration by John Wesley Powell in 1869 to present day. Causes range from suicides to accidental drownings, heatstroke, snake bite, flash floods, aircraft collisions, crashes and even murder. Based on the book ‘Over the Edge: Death in Grand Canyon’ by Michael Ghiglieri and Thomas Myers, this map illustrates the geography of deathly incidents. It uses a pan-sharpening technique to create a crisp, vibrant combination of layer tints and hillshades. The colours are defined to allow the map to be viewed in normal two dimensional viewing but in 3D when viewed using chromadepth glasses. The map provides a dramatic, visually engaging illustration of a unique dataset and maintain the first geocoded display of the complete record of deaths in Grand Canyon. In so doing, it illustrates the development and application of novel cartographic approaches. Vignettes describing the incidents bring the quantity of death into perspective through the telling of short individual stories, some fantastic, some tragic. The presentation will discuss the map’s creation in 2012, a recent update, and also the response to its publication. There were some very real issues faced in portraying an often sensitive subject matter, and some of the failures in this respect and the lessons learned will be explored.
ContributorsField, Kenneth (Author, Speaker) / ASU Marketing Hub (Videographer)
Created2019-03-01
DescriptionIn this presentation, Spindler will describe the work of designing and building the 100 Years of Grand collaborative digital archive and the associated challenges of item selection, description, copyright, and project coordination. He will also demonstrate the digital archive and present examples of key items of Grand Canyon history.
ContributorsSpindler, Rob (Author, Speaker) / ASU Marketing Hub (Videographer)
Created2019-03-01
Description
The passage of the Grand Canyon Protection Act (1992) and the completion of the Glen Canyon Dam Environmental Impact Statement (1996) ushered in a new era of environmental monitoring and research of the Colorado River corridor in Grand Canyon. Technological advancements in surveying and mapping systems over this period have made it possible to map larger areas with an increasing level of precision and accuracy. All of these mapping efforts rely on an accurate geodetic control network along the rim and inner canyon corridor. Examples of mapping efforts include aerial photographic, topographic, and bathymetric missions. Aerial overflights of the entire canyon corridor have been conducted in 2002, 2009, and 2013 and the high-resolution orthophographs and photogrammetrically-derived topography form the base data set for a number of investigations. From 2009 to 2017, over 160 miles of channel have been mapped using multibeam bathymetry. The bathymetric maps reveal the form of the Channel bed and allow researchers to asses flow operations from Glen Canyon dam on the sediment resources within the Colorado River ecosystem.
ContributorsKaplinski, Matt (Author, Speaker) / ASU Marketing Hub (Videographer)
Created2019-03-01
Description
In 1923 an expedition left Lees Ferry with the intent of making an unbroken level survey line 251 miles through Grand Canyon. This expedition was led by the Chief Topographic Engineer of the USGS, Claude Birdseye. His handpicked crew consisted of four boatman, a rodman and a cook, who navigated four boats over 74 day to complete this remarkable task. Birdseye and his men also ran survey lines up prominent side canyons and were charged with perhaps the most important aspect of the mission, locating potential dam sites. The level line that was produced from this expedition and the accurate maps of eight potential dam sites started a dialogue that would frame and potentially tame the wild Colorado River running through the West. These maps were ultimately used to aid in the creation of multiple dams and water diversion projects. Today researchers continue to utilize several maps, photographs and survey points almost 100 years after they were collected.
ContributorsManone, Mark (Author, Speaker) / ASU Marketing Hub (Videographer)
Created2019-03-01
Description
Students were invited to submit their original cartographic work to the 2019 Mapping Grand Canyon Student Map Competition. Three categories of cartographic production were considered for this competition. In addition, Arizona State University and the Arizona Geographic Information Council have partnered to make all your hard work worth even more! When students submitted their map to the Mapping Grand Canyon Map Competition, they also had the option to automatically submit it to the AGIC Maps & Apps Competition at the 2019 AGIC Education & Training Symposium.
ContributorsASU Marketing Hub (Videographer)
Created2019-02-28
Description
The intent of the 1869 river expedition of Major John Wesley Powell was to map the course of the Green River to its junction with the Colorado River, and then through the Grand Canyon, ending at Callville, Nevada, filling in somewhat terra incognita of the plateau country of the southwestern United States. Starting at Green River Station, Wyoming Territory, one of the four boats wrecked in the Cañon of Lodore, resulting in one crew member leaving the trip at the Uinta River. Weather, rapids, hard work portaging and lining boats and supplies, and other time-consuming activities curtailed much of the needed survey and mapping work. Loss of the maps due to wetting caused the need for them to be recreated. Even with that, plus broken barometers and wet chronometers and watches, at least one map remained so that Powell’s return river trip of 1871-72 could carry it with them, compare it with their longer-term surveying, and update the 1869 results. However, by the time they reached about river mile 240 in the Grand Canyon, Powell still could not tell how far west they had boated or how close they were to Callville. Because of that and other reasons, three men left the party at what has been named Separation Rapid and up Separation Canyon on the north rim. Powell and the remaining men exited Grand Canyon soon thereafter at the mouth of the Virgin River, not far above Callville; the three men perished somewhere on the Arizona Strip. This talk will cover how the men used their scientific instruments to survey and map, and speculate about what they knew of their location along their trip, focusing specifically on Grand Canyon.
ContributorsQuartaroli, Richard David (Author, Speaker) / ASU Marketing Hub (Videographer)
Created2019-02-28