Matching Items (71)
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
Psychology and dance both shed light on the question: how do our personal, life experiences affect our movement? This document introduces elements from psychology and dance through associative learning, attachment styles, muscle patterning, and partner improvisation as ways of exploring this question. It aims to briefly introduce these theories and explain how they had a role in the research of the creative project. It also documents the inception, creation, and production of Lullabye, a dance work intended to be accessible to an audience with little to no experience viewing concert dance, with the target audience specifically being the writer’s mother. It has three sections, each featuring a different element of dance, storytelling, and individuality. It starts a conversation on how emotions and thoughts related to personal experiences can affect our movement.
ContributorsTello Solano, Carlos (Co-author, Co-author) / Kaplan, Robert (Thesis director) / Montoya, Yvonne (Committee member) / Schupp, Karen (Committee member) / Department of Psychology (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The arts benefit society through positively affecting an individual's physical, emotional, cognitive, and social development. The arts are comprised of many genres. The four genres of art this thesis researched includes: dance, theatre, music, and the visual arts. These four genres aid the four areas of human development. The research present in this thesis demonstrates a variety of developmental benefits from participation in the arts. While the benefits of participating in the arts exist, there is not equal accessibility to the arts. People are prevented from participating in the arts mainly due to cost. Four art specialists, one for each genre of the arts were anonymously interviewed to provide real life examples of participating in the arts. These findings informed a business plan for a non-profit arts center, Arts Center for Expression. This center is based off the beliefs that there is an artistic experience for everyone and that anyone who wants to should have access. Following the research in this thesis is a business plan for Arts Center for Expression. It details the operating plan, funding, future/harvest, competition, market, marketing plan, and potential impact. The benefits of the arts are numerous and undeniable.
ContributorsMcHugh, Colleen Godfrey (Author) / Fitzgerald, Mary (Thesis director) / Schupp, Karen (Committee member) / School of Film, Dance and Theatre (Contributor) / Department of Management and Entrepreneurship (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
How does the idea of the visible and invisible, tangible and intangible, interact with the garments on the body? Perception, to become aware through the sense, involves the way in which the eye sees space, both visible and invisible. The way in which we see objects are significant in our everyday life and how we evaluate it. The main pattern the garments encompass are the accordion pleating and the variety in which the pattern can be utilized; the accordion pleating can be scaled, attached together, and twisted around the body. Effervescence is a 6-look collection that entails the idea of perception. The results of the project include 3 completed looks, 3 3D print on fabric, and 8 3D print accessories. In this paper, I will explain the process of creating the collection, the experimentation, and the results.
ContributorsNguyen, Juliana (Author) / Mihaleva, Galina (Thesis director) / Stephenson, Kathy (Committee member) / Tevzadze, Irina (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor)
Created2022-05
ContributorsCampbell, Andrew (Pianist) (Performer) / McLin, Katherine (Performer) / Spring, Robert (Performer) / Schupp, Karen (Performer) / FitzPatrick, Carole (Performer) / Cosand, Walter, 1950- (Performer) / ASU Library. Music Library (Publisher)
Created2008-01-19
Description
Personal histories are deeply rooted into my way of existence, far before my brain became ready to challenge such notions. While Americans have been witnesses to the splintering effects of colonialism and patriarchy on socialization, I ask two questions: (1) Where to stand within a society that promotes the marginalization of both women and brown bodies? And (2) how to combat these harsh realities and protect those most affected?
Being both Black and woman, I decided to embark upon a quest of self-actualization in this document. “Ain’t She Sweet: A Critical Choreographic Study of Identity & Intersectionality,” tracks the creative process and concept design behind my applied project for the Master of Fine Arts in Dance. Developed in extensive rehearsals, community engagement, journaling processes, and lived experiences, the physical product, “Ain’t She Sweet,” explored concepts such as identity, socialization, oppression, decolonization, sexuality, and civil rights. The chapters within this document illustrate the depth of the research conducted to form the evening-length production and an analysis of the completed work.
Being both Black and woman, I decided to embark upon a quest of self-actualization in this document. “Ain’t She Sweet: A Critical Choreographic Study of Identity & Intersectionality,” tracks the creative process and concept design behind my applied project for the Master of Fine Arts in Dance. Developed in extensive rehearsals, community engagement, journaling processes, and lived experiences, the physical product, “Ain’t She Sweet,” explored concepts such as identity, socialization, oppression, decolonization, sexuality, and civil rights. The chapters within this document illustrate the depth of the research conducted to form the evening-length production and an analysis of the completed work.
ContributorsCarney, Laina Reese (Author) / Schupp, Karen (Thesis advisor) / Weitz, Rose (Committee member) / White, Marcus (Committee member) / Fitzgerald, Mary (Committee member) / Arizona State University (Publisher)
Created2019
Description
It’s Not That Simple: A Complex Journey of an MFA Applied Project discusses the experience of graduate student, Molly W. Schenck. Schenck’s applied project, It’s Not That Simple, was an interdisciplinary dance theatre performance piece that challenges rape culture on college campuses. While the focus of the applied project was this performance, it was the obstacles and highlights that were related to the project that made the journey memorable. This paper will discuss the history and evolution of It’s Not That Simple, the creative process, the research, the trajectory of the project, and reflections on the journey.
ContributorsSchenck, Molly W (Author) / Schupp, Karen (Thesis advisor) / Kaplan, Robert (Committee member) / Sterling, Pamela (Committee member) / Arizona State University (Publisher)
Created2016
Description
This document analyzes the use of the Principles of Design within the applied project It’s My Party, a multimedia dance theatre production, as a means to address and overcome the stigmatization of the Human Immunodeficiency Virus (HIV). Through the orchestration of dance, music, props, acting, video, and spoken word, this interdisciplinary work investigates how these production elements synthesize into a transformative theatrical experience for audiences. Outlined in this document is the eight month design process. The process included concept design, assessing, processing, customizing the message, script development, rehearsals, and video production, and concluded with an evening length production. Analyzed through the structural narrative of The Hero’s Journey, this autobiographic work details the author’s HIV-positive (HIV+) coming out story from a restorative narrative perspective. By addressing the subject of HIV from a contemporary point-of-view, this project strives to reencode the troubling associations affiliated with HIV with an empowered and hopeful understanding.
ContributorsAlvarez, Ricardo (Author) / Schupp, Karen (Thesis advisor) / Magenta, Muriel (Committee member) / Rajko, Jessica (Committee member) / Standley, Eileen (Committee member) / Arizona State University (Publisher)
Created2016
Description
This document outlines the formation and development of Worth the Weight, or WTW, a platform that seeks to sustain the Breaking community in Phoenix, Arizona and connect the generations by bringing them together in a newly and never before seen event in Breaking, an all weight class and division competition. In the last five to ten years there has been a noticeable decline in the local Breaking community, in part due to the introduction of new dance categories, economic and social changes, the cross over of academia and traditional studios in Phoenix; all combining to create a lack of longevity in veterans of the culture to pass on the tools of the trade to the next generation.
WTW is an event that occurs monthly for three consecutive months followed by a month off, totaling nine events and three seasons per calendar year. At each event dancers go head to head in battle in a single elimination style bracket, where they will add a loss or win to their overall season record. The goals of WTW are self-empowerment as well as ownership and investment in the community by those involved through participation in both the event and the planning process; all built on a foundation of trust within the Breaking community. This researcher has thirty years of direct involvement in the Breaking culture with twenty-two of those years as a practitioner in Phoenix, Arizona and co-founder of Furious Styles Crew, Arizona’s longest running Breaking crew. The development of WTW was drawn from this experience along with interviews and observations of Breaking communities worldwide. WTW intends to provide a reliable and consistent outlet during a time of instant gratification, allowing a space for self-discovery and the development of tools to be applied beyond movement. It is hoped that the format of WTW will be a model that can be adapted by other Breaking communities worldwide.
WTW is an event that occurs monthly for three consecutive months followed by a month off, totaling nine events and three seasons per calendar year. At each event dancers go head to head in battle in a single elimination style bracket, where they will add a loss or win to their overall season record. The goals of WTW are self-empowerment as well as ownership and investment in the community by those involved through participation in both the event and the planning process; all built on a foundation of trust within the Breaking community. This researcher has thirty years of direct involvement in the Breaking culture with twenty-two of those years as a practitioner in Phoenix, Arizona and co-founder of Furious Styles Crew, Arizona’s longest running Breaking crew. The development of WTW was drawn from this experience along with interviews and observations of Breaking communities worldwide. WTW intends to provide a reliable and consistent outlet during a time of instant gratification, allowing a space for self-discovery and the development of tools to be applied beyond movement. It is hoped that the format of WTW will be a model that can be adapted by other Breaking communities worldwide.
ContributorsMagaña, Jorge Edson (Author) / Vissicaro, Pegge (Thesis advisor) / Schupp, Karen (Committee member) / Gabbert, Kenneth (Committee member) / Arizona State University (Publisher)
Created2015
Description
Scientists have used X-rays to study biological molecules for nearly a century. Now with the X-ray free electron laser (XFEL), new methods have been developed to advance structural biology. These new methods include serial femtosecond crystallography, single particle imaging, solution scattering, and time resolved techniques.
The XFEL is characterized by high intensity pulses, which are only about 50 femtoseconds in duration. The intensity allows for scattering from microscopic particles, while the short pulses offer a way to outrun radiation damage. XFELs are powerful enough to obliterate most samples in a single pulse. While this allows for a “diffract and destroy” methodology, it also requires instrumentation that can position microscopic particles into the X-ray beam (which may also be microscopic), continuously renew the sample after each pulse, and maintain sample viability during data collection.
Typically these experiments have used liquid microjets to continuously renew sample. The high flow rate associated with liquid microjets requires large amounts of sample, most of which runs to waste between pulses. An injector designed to stream a viscous gel-like material called lipidic cubic phase (LCP) was developed to address this problem. LCP, commonly used as a growth medium for membrane protein crystals, lends itself to low flow rate jetting and so reduces the amount of sample wasted significantly.
This work discusses sample delivery and injection for XFEL experiments. It reviews the liquid microjet method extensively, and presents the LCP injector as a novel device for serial crystallography, including detailed protocols for the LCP injector and anti-settler operation.
The XFEL is characterized by high intensity pulses, which are only about 50 femtoseconds in duration. The intensity allows for scattering from microscopic particles, while the short pulses offer a way to outrun radiation damage. XFELs are powerful enough to obliterate most samples in a single pulse. While this allows for a “diffract and destroy” methodology, it also requires instrumentation that can position microscopic particles into the X-ray beam (which may also be microscopic), continuously renew the sample after each pulse, and maintain sample viability during data collection.
Typically these experiments have used liquid microjets to continuously renew sample. The high flow rate associated with liquid microjets requires large amounts of sample, most of which runs to waste between pulses. An injector designed to stream a viscous gel-like material called lipidic cubic phase (LCP) was developed to address this problem. LCP, commonly used as a growth medium for membrane protein crystals, lends itself to low flow rate jetting and so reduces the amount of sample wasted significantly.
This work discusses sample delivery and injection for XFEL experiments. It reviews the liquid microjet method extensively, and presents the LCP injector as a novel device for serial crystallography, including detailed protocols for the LCP injector and anti-settler operation.
ContributorsJames, Daniel (Author) / Spence, John (Thesis advisor) / Weierstall, Uwe (Committee member) / Kirian, Richard (Committee member) / Schmidt, Kevin (Committee member) / Arizona State University (Publisher)
Created2015