Matching Items (380)
Description
Our lives are full of possibilities but also of self-imposed limitations. For some, finding their purpose in life and their place in the society is instinctive, but for many of us it requires a deliberate search. For the latter, self-discovery is a journey; an intentional path of many turns and twists, ups and downs, some surprises. It requires a person to slow down and assess oneself. What has been so far, what is right there on the surface, what is hidden deep down, and what is it that one strives for? Now, imagine narrowing down that path even more, and try to answer the question: Who am I as an artist?
ContributorsBlasko, Tanja (Author) / McMahon, Jeff (Thesis director) / Bowditch, Rachel (Committee member) / School of Film, Dance and Theatre (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
How do you convey what’s interesting and important to you as an artist in a digital world of constantly shifting attentions? For many young creatives, the answer is original characters, or OCs. An OC is a character that an artist creates for personal enjoyment, whether based on an already existing story or world, or completely from their own imagination.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
ContributorsCote, Jacqueline (Author) / Button, Melissa M (Thesis director) / Dove-Viebahn, Aviva (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Space microbiology, or the study of microorganisms in space, has significant applications for both human spaceflight and Earth-based medicine. This thesis traces the evolution of the field of space microbiology since its creation in 1935. Beginning with simple studies to determine if terrestrial life could survive spaceflight, the field of space microbiology has grown to encompass a substantial body of work that is now recognized as an essential component of NASA' research endeavors. Part one provides an overview of the early period of space microbiology, from high-altitude balloon and rocket studies to work conducted during the Apollo program. Part two summarizes the current state of the field, with a specific focus on the revolutionary contributions made by the Nickerson lab at the Biodesign Institute at ASU using the NASA-designed Rotating Wall Vessel (RWV) Bioreactor. Finally, part three highlights the research I've conducted in the Nickerson lab, as well as continuing studies within the field of space microbiology.
ContributorsMcCarthy, Breanne E. (Author) / Lynch, John (Thesis director) / Foy, Joseph (Committee member) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Orbiting space debris is an active issue that affects the capability of space launch for future satellites, probes, and space shuttles, and it will become a nearly insurmountable problem without action. Debris of varying sizes and speeds orbit the Earth at a range of heights above the atmosphere and need to be removed to avoid damage to crucial equipment of active orbiting satellites including the International Space Station. Finding a feasible solution to space debris removal requires that several facets be covered to become a reality; these include being aware of the problem in magnitude and source. This literature assessment covers the magnitude of space debris in low-earth and geosynchronous orbit as well as collision events which have increased the amount of space debris. There have been efforts made by several space agencies to control the amount of space debris added to orbit by current and future launches over the last decade \u2014 serving as a temporary fix before removal can be executed. This paper explores known removal efforts through mitigation, projects conceived and tested by DARPA, related space policies and laws, CubeSat technology, and the cataloguing of known space debris. To make space debris removal a reality, roadblocks need to be removed to acquire permission from states or countries for space missions. For example, these restrictions are in place to protect the assets of several countries and organizations. Guidelines set to curb the growth of space debris fail to prevent the growth due to the restrictions for ownership rights making them not as effective. This paper covers space policy and laws, the economy, satellite ownership, international conflict, status of space debris, and the overall feasibility of space debris removal. It will then discuss currently proposed solutions for the removal of space debris. Finally, this paper attempts to weight the advantages and disadvantages of the idea that space debris removal should include the opportunity to recycle materials. For example, defunct satellites and other discarded space crafts could be used for future launches. It will conclude with a personal exploration of what materials can be recycled, what chemical processes can be used to break down materials, and how to combine recycling and chemical processes for space-based recycling stations between Earth and the moon. The overall question that drives the search for making space debris removal a reality is whether it is feasible in multiple areas including technologically, legally, monetarily, and physically.
ContributorsBreden, Elizabeth Catherine (Author) / Foy, Joseph (Thesis director) / Thoesen, Andrew (Committee member) / Maximon, Leonard (Committee member) / School of Molecular Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
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 study focused on the connection between the EnvZ/OmpR two-component regulatory system and the iron homeostasis system in Escherichia coli, specifically how a mutant form of EnvZ11/OmpR is able to reduce the expression of fepA::lacZ, a reporter gene fusion in E. coli. FepA is one of several outer membrane siderophore receptors that allow extracellular siderophores bound to iron to enter the cells to power various biological processes. Previous studies have shown that in E. coli cells that expressed a mutant allele of envZ, called envZ11, which led to altered expression of various iron genes including down regulation of fepA::lacZ. The wild type EnvZ/OmpR system is not considered to regulate iron genes, but because these envz11 strains had downregulated fepA::lacZ, this study was undertaken to understand the connection and mechanisms of this downregulation. A large number of Lac+ revertants were obtained from the B32-2483 strain (envz11 and fepA::lacZ) and 7 Lac+ revertants that had reversion mutations not directly correcting the envZ11 allele were further characterized. With P1 phage transduction genetic mapping that involved moving a kanamycin resistance marker linked to fepA::lacZ, two Lac+ revertants were found to have their reversion mutations in the fepA promoter region, while the other five revertants had their mutations mapping outside the fepA region. These two revertants underwent DNA sequencing and found to carry two different single base pair mutations in two different locations of the fepA promoter region. Each one is in the Fur repressor binding region, but one also may have affected the Shine-Dalgarno region involved in translation initiation. All 7 reveratants underwent beta-galactosidase assays to measure fepA::lacZ expression. The two revertants that had mutations in the fepA promoter region had significantly increased fepA activity, with the revertant with the Shine-Dalgarno mutation having the most elevated fepA expression. The other 5 revertants that did not map in the fepA region had fepA expression elevated to the same level as that found in the wild type EnvZ/OmpR background. The data suggest that the negative effect of envZ11 can be overcome by multiple mechanisms, including directly correcting the envZ11 allele or changing the fepA promoter region.
ContributorsKalinkin, Victor Arkady (Co-author) / Misra, Rajeev (Co-author, Thesis director) / Mason, Hugh (Committee member) / Foy, Joseph (Committee member) / Biomedical Informatics Program (Contributor) / School of Life Sciences (Contributor) / W. P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
I saw a Dove ad called "Real Beauty Sketches" where a group of women described themselves to a sketch artist, and then a complete stranger described them to the same artist. By the end of the ad, it's apparent that the women, when describing themselves, were very critical of all their features. When total strangers described them the resulting portrait was more beautiful to the women. The take-away from the campaign was that others see more beauty in you than you do in yourself. I explored that idea through my thesis. My aim in this project was to learn to see the beauty in myself through personal artistic expression. I completed a series of self-portraits; for about four months straight I drew one portrait of myself every single day. I also recorded my thoughts in a diary entry as I drew my portrait, hoping to capture my emotions and moods during that day. The resulting outcome of my creative project is twofold. The physical outcome is about 100 self-portraits and daily diary entries that represent the creative thesis project I pursued. The second outcome cannot be physically seen. I have discovered more about myself in four months than I have in twenty years. I have begun to see myself differently, and positively. This thesis project turned into a journey of self-exploration, and I'm looking forward to what the future holds for me.
ContributorsRao, Rachana Sai (Author) / Hood, Mary (Thesis director) / Button, Melissa (Committee member) / School of Art (Contributor) / W. P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Dressler Makes Things (DMT), as a thesis project, explores the viability of DMT as a monetized blog. DMT is a life improvement blog with a focus on cooking. Its blog niche sits between nostalgic, sensory food blogs and professional, actionable life improvement blogs. Because blogs that bridge this gap are rare, DMT aims to fill this need by making cooking easy, affordable, and attainable for anyone, but particularly females in their early twenties. This thesis explores marketing topics like brand, blog niche, unique value proposition, current viewers, and user personas, as well as information about the current blogging environment and an analysis of relevant competitors. It also develops marketing objectives for DMT, as well as positioning, conversion, referral, content promotion, and partnership strategies to reach these goals. Finally, it discusses distribution, pricing, and promotional tactics, as well as an operational plan and financial projections.
ContributorsParsons, Dressler Eileen (Author) / Gray, Nancy (Thesis director) / Bitter, Gary (Committee member) / School of Art (Contributor) / Department of Marketing (Contributor) / W. P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
For my creative project, I began an art press that produces small-run vinyl records and artist's books. Initially, the venture began as a means to circumvent record pressing facilities as a vinyl record-cutting service. By the end of this project, the focus shifted to encompass more visual art products than just vinyl records. The project began with vinyl records because I saw a need in the market; in the past decade, the industry has grown dramatically, but the dozen record pressing plants in the country cannot keep up with the demand. Because record pressing companies prioritize large orders, it is difficult for many small bands and independent record labels to produce work on this medium. This is due to the long lead times, high prices, and large minimum order sizes. I located a man in Germany, who invented a machine that makes high-quality, lathe-cut records. I named the project Blushing Soup, as homage to my father, who passed during my first semester of college. It is through his passing that I was able to secure funds to pursue this venture. I brought on a partner, who was more familiar with art and audio recording than myself. In the summer of 2015, we met with this inventor to learn how to use his machine. By October of 2015, a machine of our own had arrived. In early November, Blushing Soup won a grant from the Scottsdale Museum of Contemporary Art. During this time, we released two vinyl records for local bands. For a culminating project, I coordinated a Record Store Day compilation album consisting of six bands featuring. After securing all of the music, the machine started having problems, which forced me to cancel this release. Recognizing the delicacy of the machine, prompted a shift in the aim of Blushing Soup. During this process, I started learning printmaking processes, and I realized that Blushing Soup could function as more than a record cutting service; we could be an art press. In the last few month of this project, I started making artist's books. By the end of April 2016, Blushing Soup will have released vinyl records for two bands, as well as produced four handmade books. This creative project centered around the process of creating art through lathe cutting and printmaking; the objective was not to maximize profits but rather refocus the consumption of art (in a sustainable practice).
ContributorsStringer, Shelby Manning (Author) / Essig, Linda (Thesis director) / Peck, Sidnee (Committee member) / School of Art (Contributor) / Department of English (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Leonardo's anatomical studies of the heart demonstrate the dependency of form and function on one another and that their combined activity leads to a comprehensive understanding of the cardiovascular system. While Leonardo was able to make incredible deductions regarding the heart's anatomy and physiology through the concepts of form and function, it is evident that his preconceptions hindered him from realizing the full scope of his individual findings. In this paper, I will evaluate the perception of anatomy, the manner in which anatomical knowledge was acquired, and the resultant traditional understanding of the cardiovascular system during Leonardo's lifetime. Leonardo's drawings of the heart will then be analyzed to determine what conclusions he was able to make regarding the heart's anatomy and physiology. Finally, I will compare Leonardo's findings to the modern understanding of the cardiovascular system. Because Leonardo's anatomical studies were hidden from the world for so long, many of his conclusions regarding the heart did not come to light before other individuals had already begun to reach them on their own. Although he made incredible leaps in the understanding of the cardiovascular system, he made little contribution to modern cardiology. Now Leonardo's work can only be examined retrospectively to determine the accuracies and inaccuracies of Leonardo's conclusions in comparison to our modern understanding.
ContributorsMulligan, Kelly Suzanne (Author) / Codell, Julie (Thesis director) / Martin, Thomas (Committee member) / School of Art (Contributor) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05