Matching Items (118)
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
The research described in this dissertation has involved the use of transmission electron microcopy (TEM) to characterize the structural properties of II-VI and III-V compound semiconductor heterostructures and superlattices. The microstructure of thick ZnTe epilayers (~2.4 µm) grown by molecular beam epitaxy (MBE) under virtually identical conditions on GaSb, InAs, InP and GaAs (100) substrates were compared using TEM. High-resolution electron micrographs revealed a highly coherent interface for the ZnTe/GaSb sample, and showed extensive areas with well-separated interfacial misfit dislocations for the ZnTe/InAs sample. Lomer edge dislocations and 60o dislocations were commonly observed at the interfaces of the ZnTe/InP and ZnTe/GaAs samples. The amount of residual strain at the interfaces was estimated to be 0.01% for the ZnTe/InP sample and -0.09% for the ZnTe/GaAs sample. Strong PL spectra for all ZnTe samples were observed from 80 to 300 K. High quality GaSb grown by MBE on ZnTe/GaSb (001) virtual substrates with a temperature ramp at the beginning of the GaSb growth has been demonstrated. High-resolution X-ray diffraction (XRD) showed clear Pendellösung thickness fringes from both GaSb and ZnTe epilayers. Cross-section TEM images showed excellent crystallinity and smooth morphology for both ZnTe/GaSb and GaSb/ZnTe interfaces. Plan-view TEM image revealed the presence of Lomer dislocations at the interfaces and threading dislocations in the top GaSb layer. The defect density was estimated to be ~1 x107/cm2. The PL spectra showed improved optical properties when using the GaSb transition layer grown on ZnTe with a temperature ramp. The structural properties of strain-balanced InAs/InAs1-xSbx SLs grown on GaSb (001) substrates by metalorganic chemical vapor deposition (MOCVD) and MBE, have been studied using XRD and TEM. Excellent structural quality of the InAs/InAs1-xSbx SLs grown by MOCVD has been demonstrated. Well-defined ordered-alloy structures within individual InAs1-xSbx layers were observed for samples grown by modulated MBE. However, the ordering disappeared when defects propagating through the SL layers appeared during growth. For samples grown by conventional MBE, high-resolution images revealed that interfaces for InAs1-xSbx grown on InAs layers were sharper than for InAs grown on InAs1-xSbx layers, most likely due to a Sb surfactant segregation effect.
ContributorsOuyang, Lu (Author) / Smith, David J. (Thesis advisor) / McCartney, Martha (Committee member) / Ponce, Fernando (Committee member) / Chamberlin, Ralph (Committee member) / Menéndez, Jose (Committee member) / Arizona State University (Publisher)
Created2012
Description
This thesis paper, Something about Self: Moving the Creative Flow Within, explores the progression of the author's abilities as a facilitator in a creative context through her project presentation SELF(ish): grow(tru)thOUGHT. Along with the subjective assessment of creative facilitation, the underpinnings of the author's creative process and artistic vision are exposed through relevant literature, significant inspirations, personal insight, process comparisons, and imaginative metaphors. The author/artist offers a unique perspective on personal interests collected over the course of her graduate studies. Waugh expounds upon pertinent content such as intuition in creativity, the emotional link to the mind-body connection, dance movement therapy and its effects on states of being, self-realization and self-transcendence. Each of these contextual elements contributed to the creation of exercises for movement generation used in a performative dance work. Ultimately, this paper elucidates a transparent, versatile creative practice and the evolution of a unique, passionate artistry that is based on a balance between structure and flow.
ContributorsWaugh, Whitney (Author) / Murphey, Claudia (Thesis advisor) / Fitzgerald, Mary (Committee member) / Jimenez, Candy (Committee member) / Arizona State University (Publisher)
Created2012
Description
This project explores the relationship between modern dance and Chinese individual identity from a personal perspective. Modern dance emerged from the West, carrying Western philosophies of individual identity and importance, where the composition of persons defines the group. The Chinese philosophy of the individual, however, has developed in a different context where the group defines the persons that constitute it. There is an interesting negotiation of meaning in the convergence of these two perceptions within the art of modern dance in China. A review of literature was conducted on modern dance in China, as well as the formation and development of individual identity in Chinese philosophy and culture. Over the summer of 2013, the author then conducted ethnographic research while attending the Beijing Dance Festival in Beijing, China. Reflections on the research and experiences were further explored through the creation of a dance piece and then compiled in this paper. Primary findings include that there are differences in understandings of time, space, and the use of technology that influence the practice of modern dance in China. Also, though the concept of self-expression is closely tied to Chinese ideas of modern dance, what is seen onstage raises the question of whose self is being expressed. The interaction of Eastern and Western understandings creates a dissonance of meaning.
ContributorsNunn, Jasmine Charis (Author) / Fitzgerald, Mary (Thesis director) / Zou, Yu (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2013-12
Description
The goal of this study was to look at touch and dance from different views to gain a better perspective on the benefits of touch, mainly when used in dance and also perhaps in broader contexts. Part of this investigation also looked at the stigmatized view of touch in the American culture and in turn the lack of knowledge about, and comfort with touch in our society. A personal research component involved the creation of a solo reflecting about the question of why I connect with touch so intensely. The bulk of the study involved facilitating touch experiences in two introductory level dance classes for high school students. Daily journal entries were collected from each of the eighty students that focused on their personal experiences with touch in a series of six movement sessions. The study shows that bringing touch to the dance classroom has multiple benefits, including promoting a greater understanding and acceptance of the sense of touch, a positive impact on students' views about dance, and a break down of preconceived notions about the mind and the body.
ContributorsSteinken, Brigitte Rose (Author) / Fitzgerald, Mary (Thesis director) / Amazeen, Eric (Committee member) / Dyer, Becky (Committee member) / Barrett, The Honors College (Contributor) / School of Dance (Contributor) / Department of Psychology (Contributor)
Created2013-05
Description
The research of this dissertation involved quantitative characterization of electrostatic potential and charge distribution of semiconductor nanostructures using off-axis electron holography, as well as other electron microscopy techniques. The investigated nanostructures included Ge quantum dots, Ge/Si core/shell nanowires, and polytype heterostructures in ZnSe nanobelts. Hole densities were calculated for the first two systems, and the spontaneous polarization for wurtzite ZnSe was determined. Epitaxial Ge quantum dots (QDs) embedded in boron-doped silicon were studied. Reconstructed phase images showed extra phase shifts near the base of the QDs, which was attributed to hole accumulation in these regions. The resulting charge density was (0.03±0.003) holes
m3, which corresponded to about 30 holes localized to a pyramidal, 25-nm-wide Ge QD. This value was in reasonable agreement with the average number of holes confined to each Ge dot determined using a capacitance-voltage measurement. Hole accumulation in Ge/Si core/shell nanowires was observed and quantified using off-axis electron holography and other electron microscopy techniques. High-angle annular-dark-field scanning transmission electron microscopy images and electron holograms were obtained from specific nanowires. The intensities of the former were utilized to calculate the projected thicknesses for both the Ge core and the Si shell. The excess phase shifts measured by electron holography across the nanowires indicated the presence of holes inside the Ge cores. The hole density in the core regions was calculated to be (0.4±0.2)
m3 based on a simplified coaxial cylindrical model. Homogeneous zincblende/wurtzite heterostructure junctions in ZnSe nanobelts were studied. The observed electrostatic fields and charge accumulation were attributed to spontaneous polarization present in the wurtzite regions since the contributions from piezoelectric polarization were shown to be insignificant based on geometric phase analysis. The spontaneous polarization for the wurtzite ZnSe was calculated to be psp = -(0.0029±0.00013) C/m2, whereas a first principles' calculation gave psp = -0.0063 C/m2. The atomic arrangements and polarity continuity at the zincblende/wurtzite interface were determined through aberration-corrected high-angle annular-dark-field imaging, which revealed no polarity reversal across the interface. Overall, the successful outcomes of these studies confirmed the capability of off-axis electron holography to provide quantitative electrostatic information for nanostructured materials.
m3, which corresponded to about 30 holes localized to a pyramidal, 25-nm-wide Ge QD. This value was in reasonable agreement with the average number of holes confined to each Ge dot determined using a capacitance-voltage measurement. Hole accumulation in Ge/Si core/shell nanowires was observed and quantified using off-axis electron holography and other electron microscopy techniques. High-angle annular-dark-field scanning transmission electron microscopy images and electron holograms were obtained from specific nanowires. The intensities of the former were utilized to calculate the projected thicknesses for both the Ge core and the Si shell. The excess phase shifts measured by electron holography across the nanowires indicated the presence of holes inside the Ge cores. The hole density in the core regions was calculated to be (0.4±0.2)
m3 based on a simplified coaxial cylindrical model. Homogeneous zincblende/wurtzite heterostructure junctions in ZnSe nanobelts were studied. The observed electrostatic fields and charge accumulation were attributed to spontaneous polarization present in the wurtzite regions since the contributions from piezoelectric polarization were shown to be insignificant based on geometric phase analysis. The spontaneous polarization for the wurtzite ZnSe was calculated to be psp = -(0.0029±0.00013) C/m2, whereas a first principles' calculation gave psp = -0.0063 C/m2. The atomic arrangements and polarity continuity at the zincblende/wurtzite interface were determined through aberration-corrected high-angle annular-dark-field imaging, which revealed no polarity reversal across the interface. Overall, the successful outcomes of these studies confirmed the capability of off-axis electron holography to provide quantitative electrostatic information for nanostructured materials.
ContributorsLi, Luying (Author) / McCartney, Martha R. (Thesis advisor) / Smith, David J. (Thesis advisor) / Treacy, Michael J. (Committee member) / Shumway, John (Committee member) / Drucker, Jeffery (Committee member) / Arizona State University (Publisher)
Created2011
Description
The purpose of the production and the choreographed work, "Sustainable Place," was to bring awareness to the public about sustainability issues through the medium of dance. The piece was performed in Nelson Fine Arts Center's Dance Lab at Arizona State University on October 8th, 9th, and 10th of 2010. The work was layered with inspirations from sustainability issues, recycling processes, and resiliency concepts.
ContributorsNewman, Emily (Author) / Jackson, Naomi (Thesis advisor) / Fitzgerald, Mary (Committee member) / Pijawka, David (Committee member) / Arizona State University (Publisher)
Created2011
Description
The research of this dissertation has involved the nanoscale quantitative characterization of patterned magnetic nanostructures and devices using off-axis electron holography and Lorentz microscopy. The investigation focused on different materials of interest, including monolayer Co nanorings, multilayer Co/Cu/Py (Permalloy, Ni81Fe19) spin-valve nanorings, and notched Py nanowires, which were fabricated via a standard electron-beam lithography (EBL) and lift-off process. Magnetization configurations and reversal processes of Co nanorings, with and without slots, were observed. Vortex-controlled switching behavior with stepped hysteresis loops was identified, with clearly defined onion states, vortex states, flux-closure (FC) states, and Omega states. Two distinct switching mechanisms for the slotted nanorings, depending on applied field directions relative to the slot orientations, were attributed to the vortex chirality and shape anisotropy. Micromagnetic simulations were in good agreement with electron holography observations of the Co nanorings, also confirming the switching field of 700-800 Oe. Co/Cu/Py spin-valve slotted nanorings exhibited different remanent states and switching behavior as a function of the different directions of the applied field relative to the slots. At remanent state, the magnetizations of Co and Py layers were preferentially aligned in antiparallel coupled configuration, with predominant configurations in FC or onion states. Two-step and three-step hysteresis loops were quantitatively determined for nanorings with slots perpendicular, or parallel to the applied field direction, respectively, due to the intrinsic coercivity difference and interlayer magnetic coupling between Co and Py layers. The field to reverse both layers was on the order of ~800 Oe. Domain-wall (DW) motion within Py nanowires (NWs) driven by an in situ magnetic field was visualized and quantified. Different aspects of DW behavior, including nucleation, injection, pinning, depinning, relaxation, and annihilation, occurred depending on applied field strength. A unique asymmetrical DW pinning behavior was recognized, depending on DW chirality relative to the sense of rotation around the notch. The transverse DWs relaxed into vortex DWs, followed by annihilation in a reversed field, which was in agreement with micromagnetic simulations. Overall, the success of these studies demonstrated the capability of off-axis electron holography to provide valuable insights for understanding magnetic behavior on the nanoscale.
ContributorsHe, Kai (Author) / McCartney, Martha R. (Thesis advisor) / Smith, David J. (Thesis advisor) / Chamberlin, Ralph V. (Committee member) / Crozier, Peter A. (Committee member) / Drucker, Jeff (Committee member) / Arizona State University (Publisher)
Created2010
Description
ABSTRACT The participatory and interactive nature of the "Hearing in Color" project unites people from different walks of life. My interest lies in creating a space for people to explore their creativity, think critically, and hone their own voice in a safe and collaborative environment. I have discovered that all art forms: movement, voice, visual or digital, stimulate possibilities for expression and enable people to move forward in new directions. To this end, my project fused multiple avenues of engagement, innovative dance technology, and alternative or site-specific locations to create a community-based project aimed at promoting dialogue and enhancing ties between several groups in the Phoenix area. In this paper, I argue that a multi-layered approach to community-arts and the use of advanced technology builds bridges for diverse populations to come together to participate and learn from one another. I also maintain that community exists among all communities involved in a process of community arts, not just the participants and facilitator. When community engagement and awareness are prioritized, a multi-layered approach creates the possibilities of growth, honesty, and understanding for all people involved.
ContributorsBritt, Melissa (Author) / Fitzgerald, Mary (Thesis advisor) / Vissicaro, Pegge (Committee member) / Mitchell, John (Committee member) / Woodson, Stephani (Committee member) / Arizona State University (Publisher)
Created2010
Description
Personal experiences with body image dysmorphia and an eating disorder necessitated that I do a thorough investigation into why they happened and why I felt this way about my body. For this project, not only was I motivated by my own struggles, but I noticed that these experiences were shared among my family, my friends, and my fellow peers in the dance community. We had been struggling since childhood. I began to realize that these behaviors and thought patterns were manifestations of apology, an apology that women have been learning, living, and spreading since our beginnings. Why do women apologize? How does this apology affect how we view, treat, and navigate our bodies in space? In what ways can dance be the mechanism by which we remove apology and individually and collectively find joy, freedom, and liberation? Not only was I interested in understanding the ‘why’, but I was deeply interested in finding a solution. Research for this thesis came from written materials, stories that the dancers and I shared, and choreographic research in the body. The final goal was to create a community-based performance of dance, spoken word, and storytelling that demonstrated the findings from each of those questions and catalyzed a conversation about how we can liberate ourselves. We used rehearsals to explore our own experiences within apology and shame, while also exploring how the ways in which we practice being unapologetic in the dance space can translate to how we move through the world on a daily basis.
Through a deep analysis and application of Sonya Renee Taylor’s book The Body Is Not An Apology, I discovered that apology is learned. We learn how to apologize through body shame, the media, family/generational trauma, and government/law/policy. This apology is embodied through gestures, movement patterns, and postures, such as bowing the head, hunching the shoulders, and walking around others. Apology causes us to view our bodies as things to be manipulated, discarded, and embarrassed by. After recognizing why we apologize and how it affects our bodies, we can then begin to think of how to remove it. Because the body the site of the problem, it is also the site of the solution. Dance gives us an opportunity to deeply learn our bodies, to cultivate their power, and to heal from their traumas. By being together in community as women, we are able to feel seen and supported as we work through uncharted territory of being free from apology in these bodies. By dancing in ways that allow us to take up space, to be free, to be unapologetic, we use dance as a practice for life. Through transforming ourselves, we begin to transform the world and rewrite the narrative of how we exist in and move through our bodies as women.
Through a deep analysis and application of Sonya Renee Taylor’s book The Body Is Not An Apology, I discovered that apology is learned. We learn how to apologize through body shame, the media, family/generational trauma, and government/law/policy. This apology is embodied through gestures, movement patterns, and postures, such as bowing the head, hunching the shoulders, and walking around others. Apology causes us to view our bodies as things to be manipulated, discarded, and embarrassed by. After recognizing why we apologize and how it affects our bodies, we can then begin to think of how to remove it. Because the body the site of the problem, it is also the site of the solution. Dance gives us an opportunity to deeply learn our bodies, to cultivate their power, and to heal from their traumas. By being together in community as women, we are able to feel seen and supported as we work through uncharted territory of being free from apology in these bodies. By dancing in ways that allow us to take up space, to be free, to be unapologetic, we use dance as a practice for life. Through transforming ourselves, we begin to transform the world and rewrite the narrative of how we exist in and move through our bodies as women.
ContributorsWaller, Marguerite Lilith (Author) / Fitzgerald, Mary (Thesis director) / Britt, Melissa (Committee member) / Lerman, Liz (Committee member) / Dean, Herberger Institute for Design and the Arts (Contributor) / School of Film, Dance and Theatre (Contributor, Contributor) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05