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The Hong Kong-born Canadian photographer and performance artist Tseng Kwong Chi mostly worked in the United States until the year he died in 1990. Upon arriving in New York in 1979, he started his career with a new name. By dropping his anglicized name Joseph and replacing it with his

The Hong Kong-born Canadian photographer and performance artist Tseng Kwong Chi mostly worked in the United States until the year he died in 1990. Upon arriving in New York in 1979, he started his career with a new name. By dropping his anglicized name Joseph and replacing it with his Chinese given name Kwong Chi, Tseng made a clear statement: this is my staged persona who refuses to assimilate to Western culture. This thesis deconstructs Tseng’s key works, including his party-crashing Met series, the decade-long East Meets West series, and the extended Expeditionary series. With his persona disguised by wearing a Mao suit and a pair of sunglasses, I argue that Tseng was a pioneer in the genre of Asian American performance photography and that his work foreshadowed the cultural jamming movement in his innovative use of détournement while it also critically comments on orientalism, cultural fetish, and Asian identity politics. Additionally, Tseng’s work served as a bridge, connecting art history with issues of Asian American identity. As a gay artist who worked mostly in the United States, his work was an early example of what Jachinson Chan has suggested as an alternative model of masculinity for Asian American men: that Asian American men can be free, independent, expressive, and willing to embrace femininity with their masculinity. As David Eng has argued, Tseng also bridged the fields of Asian American queer studies and diaspora studies. Moreover, Tseng carried the legacy of the first-generation Chinese American artists in the medium of photography and inspired the next generation of diasporic artists to explore Asian identity, and to contest the image of Mao and the power dynamics between East and West.
ContributorsWei, Xin (Author) / Mesch, Claudia (Thesis advisor) / Hoy, Meredith (Committee member) / Kuo, Karen (Committee member) / Arizona State University (Publisher)
Created2022
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Cities in the Global South face rapid urbanization challenges and often suffer an acute lack of infrastructure and governance capacities. Smart Cities Mission, in India, launched in 2015, aims to offer a novel approach for urban renewal of 100 cities following an area‐based development approach, where the use of ICT

Cities in the Global South face rapid urbanization challenges and often suffer an acute lack of infrastructure and governance capacities. Smart Cities Mission, in India, launched in 2015, aims to offer a novel approach for urban renewal of 100 cities following an area‐based development approach, where the use of ICT and digital technologies is particularly emphasized. This article presents a critical review of the design and implementation framework of this new urban renewal program across selected case‐study cities. The article examines the claims of the so‐called “smart cities” against actual urban transformation on‐ground and evaluates how “inclusive” and “sustainable” these developments are. We quantify the scale and coverage of the smart city urban renewal projects in the cities to highlight who the program includes and excludes. The article also presents a statistical analysis of the sectoral focus and budgetary allocations of the projects under the Smart Cities Mission to find an inherent bias in these smart city initiatives in terms of which types of development they promote and the ones it ignores. The findings indicate that a predominant emphasis on digital urban renewal of selected precincts and enclaves, branded as “smart cities,” leads to deepening social polarization and gentrification. The article offers crucial urban planning lessons for designing ICT‐driven urban renewal projects, while addressing critical questions around inclusion and sustainability in smart city ventures.`

ContributorsPraharaj, Sarbeswar (Author)
Created2021-05-07
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The Romanian avant-garde artist Constantin Brancusi is considered one of the most significant artists of modern sculpture. This is due to his innovative use of materials, such as wood and marble, and his reduction and precision of form. Brancusi developed his abstraction with "primitive" sources of art in mind. This

The Romanian avant-garde artist Constantin Brancusi is considered one of the most significant artists of modern sculpture. This is due to his innovative use of materials, such as wood and marble, and his reduction and precision of form. Brancusi developed his abstraction with "primitive" sources of art in mind. This thesis examines how and to what extent primitivism played a central role in Brancusi's sculptures and his construction as a primitive artist.

Romanian folk art and African art were the two main sources of influence on Brancusi's primitivism. Brancusi identified himself with the Romanian peasantry and its folk culture. Romanian folk culture embraces woodcarving and folk literary fables--both of which Brancusi incorporated in his sculptures. In my opinion, Brancusi's wood pedestals, such as the Endless Column, are based on wood funerary, decorative, and architectural motifs from Romanian villages.

Brancusi was exposed to African art through his relationship with the New York avant-garde. The art dealers Alfred Stieglitz, Marius de Zayas, and Joseph Brummer exhibited Brancusi's sculptures in their galleries, in addition to exhibiting African art. Meanwhile, Brancusi's main patron John Quinn also collected African art. His interaction with the New York avant-garde led him to incorporate formal features of African sculpture, such as the oval forms of African masks, into his abstract sculptures. Brancusi also used African art to expose the racial prejudice of his time. African art, along with Romanian folk art, informed Brancusi's primitivism consistently throughout his long career as a modern sculptor.
ContributorsMiholca, Amelia (Author) / Mesch, Claudia (Thesis advisor) / Brown, Claudia (Committee member) / Forgács, Éva (Committee member) / Arizona State University (Publisher)
Created2014
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Effective Altruism (EA), a moral philosophy concerned with accomplishing the greatest possible good in one’s lifetime, sees little utilitarian and/or humanitarian value in the arts. EA suggests that amidst so much global strife, the time, energy, and finances expended to create fleeting art would be put to better, more practical

Effective Altruism (EA), a moral philosophy concerned with accomplishing the greatest possible good in one’s lifetime, sees little utilitarian and/or humanitarian value in the arts. EA suggests that amidst so much global strife, the time, energy, and finances expended to create fleeting art would be put to better, more practical use in the fight against poverty. However, EA has yet to sufficiently account for sustainable art practice — an art form deeply rooted in utilitarianism and humanitarianism — and the possibility of its accompanying aesthetics as a constituent of utilitarian/humanitarian theories. The first chapter of this thesis illustrates an intersection of EA, sustainability, and aesthetics, detailing ways in which sustainable art and EA philosophy overlap, as well as problematizing EA’s dismissal of contemporary art practice. This chapter also points to sustainable art as one possible alternative art route for practicing artists with EA interests. Chapters two and three present case studies of Danish art collective SUPERFLEX and an American non-profit called the Land Art Generator Initiative (LAGI) and how their sustainable goals fit the utilitarian and humanitarian scope through which EA functions.
ContributorsNemelka, Kevin (Author) / Hoy, Meredith (Thesis advisor) / Mesch, Claudia (Committee member) / Sweeney, Gray (Committee member) / Arizona State University (Publisher)
Created2017
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Trees serve as a natural umbrella to mitigate insolation absorbed by features of the urban environment, especially building structures and pavements. For a desert community, trees are a particularly valuable asset because they contribute to energy conservation efforts, improve home values, allow for cost savings, and promote enhanced health and

Trees serve as a natural umbrella to mitigate insolation absorbed by features of the urban environment, especially building structures and pavements. For a desert community, trees are a particularly valuable asset because they contribute to energy conservation efforts, improve home values, allow for cost savings, and promote enhanced health and well-being. The main obstacle in creating a sustainable urban community in a desert city with trees is the scarceness and cost of irrigation water. Thus, strategically located and arranged desert trees with the fewest tree numbers possible potentially translate into significant energy, water and long-term cost savings as well as conservation, economic, and health benefits. The objective of this dissertation is to achieve this research goal with integrated methods from both theoretical and empirical perspectives.

This dissertation includes three main parts. The first part proposes a spatial optimization method to optimize the tree locations with the objective to maximize shade coverage on building facades and open structures and minimize shade coverage on building rooftops in a 3-dimensional environment. Second, an outdoor urban physical scale model with field measurement is presented to understand the cooling and locational benefits of tree shade. The third part implements a microclimate numerical simulation model to analyze how the specific tree locations and arrangements influence outdoor microclimates and improve human thermal comfort. These three parts of the dissertation attempt to fill the research gap of how to strategically locate trees at the building to neighborhood scale, and quantifying the impact of such arrangements.

Results highlight the significance of arranging residential shade trees across different geographical scales. In both the building and neighborhood scales, research results recommend that trees should be arranged in the central part of the building south front yard. More cooling benefits are provided to the building structures and outdoor microclimates with a cluster tree arrangement without canopy overlap; however, if residents are interested in creating a better outdoor thermal environment, open space between trees is needed to enhance the wind environment for better human thermal comfort. Considering the rapid urbanization process, limited water resources supply, and the severe heat stress in the urban areas, judicious design and planning of trees is of increasing importance for improving the life quality and sustaining the urban environment.

ContributorsZhao, Qunshan (Author) / Wentz, Elizabeth (Thesis advisor) / Sailor, David (Committee member) / Wang, Zhi-Hua (Committee member) / Arizona State University (Publisher)
Created2017
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Despite his critical role in the development of American Surrealism, Abstract Expressionism, and Postwar Assemblage, gay Filipino-American artist Alfonso Ossorio remains at the margins of the historiography of these movements. Born in Manila, Philippines, the artist immigrated to the United States in 1930 where he lived and worked until his

Despite his critical role in the development of American Surrealism, Abstract Expressionism, and Postwar Assemblage, gay Filipino-American artist Alfonso Ossorio remains at the margins of the historiography of these movements. Born in Manila, Philippines, the artist immigrated to the United States in 1930 where he lived and worked until his death in 1990 at his home city of East Hampton, New York. He is among the few Philippine-descended artists living in 20th-century America producing museum-collected works. Since America’s colonial occupation of the Philippines in the 19th-century, immigration has been increasing as a result of migrant labor, military recruitment, and economic exchange. However, the Philippine diaspora’s artistic contributions and visual identity before 1980 are largely under-researched in the United States. Queer artists of color, especially Filipinx-Americans, rarely feature in the dominant narratives of American modernity. Ossorio deeply inflected the trajectory of the American avant-garde yet his marginal place in the history demonstrates how art communities excluded queer and Philippine-American identities in the 20th-century during the development of two major American modernist movements. The scholarship has increased since Ossorio’s death in 1990 as a result of museum and gallery exhibitions. Previous writers focus on biographical description or contextualize Ossorio’s work within a broad movement category without considering Ossorio’s Filipino-American and gay identities in advanced detail from queer and critical race frameworks. These studies lack specific theoretical analysis around race, sexuality, and colonialism on Ossorio’s identity and his artistic communities. Through the analysis of his paintings and archival documents, this thesis argues that Ossorio’s negotiation of these intersecting minority categories is central to understanding his artistic production and his relationship to the American avant-garde. This research applies the current literature on queer theory, critical race theory, and postcolonial theory on Filipinx-American identity to Ossorio’s life and artwork. I center the work of Philippine psychologist Virgilio G. Enriquez with additions from Filipinx-American scholars Martin F. Manalansan IV, Vicente Rafael, Denise Cruz and American scholars art historian Richard Meyer and queer theorist Judith Butler when examining the artworks Untitled 1944 (1944) and Astonished Mother (1950) in the context of Surrealism and Abstract Expressionism respectively.
ContributorsMiranda, Matthew Villar (Author) / Afanador-Pujol, Angélica J. (Thesis advisor) / Mesch, Claudia (Committee member) / Bailey, Marlon M. (Committee member) / Guevarra Jr., Rudy P. (Committee member) / Arizona State University (Publisher)
Created2021
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Deposits of dark material appear on Vesta’s surface as features of relatively low-albedo in the visible wavelength range of Dawn’s camera and spectrometer. Mixed with the regolith and partially excavated by younger impacts, the material is exposed as individual layered outcrops in crater walls or ejecta patches, having been uncovered

Deposits of dark material appear on Vesta’s surface as features of relatively low-albedo in the visible wavelength range of Dawn’s camera and spectrometer. Mixed with the regolith and partially excavated by younger impacts, the material is exposed as individual layered outcrops in crater walls or ejecta patches, having been uncovered and broken up by the impact. Dark fans on crater walls and dark deposits on crater floors are the result of gravity-driven mass wasting triggered by steep slopes and impact seismicity. The fact that dark material is mixed with impact ejecta indicates that it has been processed together with the ejected material. Some small craters display continuous dark ejecta similar to lunar dark-halo impact craters, indicating that the impact excavated the material from beneath a higher-albedo surface. The asymmetric distribution of dark material in impact craters and ejecta suggests non-continuous distribution in the local subsurface. Some positive-relief dark edifices appear to be impact-sculpted hills with dark material distributed over the hill slopes.

Dark features inside and outside of craters are in some places arranged as linear outcrops along scarps or as dark streaks perpendicular to the local topography. The spectral characteristics of the dark material resemble that of Vesta’s regolith. Dark material is distributed unevenly across Vesta’s surface with clusters of all types of dark material exposures. On a local scale, some craters expose or are associated with dark material, while others in the immediate vicinity do not show evidence for dark material. While the variety of surface exposures of dark material and their different geological correlations with surface features, as well as their uneven distribution, indicate a globally inhomogeneous distribution in the subsurface, the dark material seems to be correlated with the rim and ejecta of the older Veneneia south polar basin structure. The origin of the dark material is still being debated, however, the geological analysis suggests that it is exogenic, from carbon-rich low-velocity impactors, rather than endogenic, from freshly exposed mafic material or melt, exposed or created by impacts.

ContributorsJaumann, R. (Author) / Nass, A. (Author) / Otto, K. (Author) / Krohn, K. (Author) / Stephan, K. (Author) / McCord, T. B. (Author) / Williams, David (Author) / Raymond, C. A. (Author) / Blewett, D. T. (Author) / Hiesinger, H. (Author) / Yingst, R. A. (Author) / De Sanctis, M. C. (Author) / Palomba, E. (Author) / Roatsch, T. (Author) / Matz, K-D. (Author) / Preusker, F. (Author) / Scholten, F. (Author) / Russell, C. T. (Author) / College of Liberal Arts and Sciences (Contributor)
Created2014-09-15
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We produced a geologic map of the Av-9 Numisia quadrangle of asteroid Vesta using Dawn spacecraft data to serve as a tool to understand the geologic relations of surface features in this region. These features include the plateau Vestalia Terra, a hill named Brumalia Tholus, and an unusual “dark ribbon”

We produced a geologic map of the Av-9 Numisia quadrangle of asteroid Vesta using Dawn spacecraft data to serve as a tool to understand the geologic relations of surface features in this region. These features include the plateau Vestalia Terra, a hill named Brumalia Tholus, and an unusual “dark ribbon” material crossing the majority of the map area. Stratigraphic relations suggest that Vestalia Terra is one of the oldest features on Vesta, despite a model crater age date similar to that of much of the surface of the asteroid. Cornelia, Numisia and Drusilla craters reveal bright and dark material in their walls, and both Cornelia and Numisia have smooth and pitted terrains on their floors suggestive of the release of volatiles during or shortly after the impacts that formed these craters. Cornelia, Fabia and Teia craters have extensive bright ejecta lobes. While diogenitic material has been identified in association with the bright Teia and Fabia ejecta, hydroxyl has been detected in the dark material within Cornelia, Numisia and Drusilla. Three large pit crater chains appear in the map area, with an orientation similar to the equatorial troughs that cut the majority of Vesta. Analysis of these features has led to several interpretations of the geological history of the region. Vestalia Terra appears to be mechanically stronger than the rest of Vesta. Brumalia Tholus may be the surface representation of a dike-fed laccolith. The dark ribbon feature is proposed to represent a long-runout ejecta flow from Drusilla crater.

ContributorsBuczkowski, D. L. (Author) / Wyrick, D.Y. (Author) / Toplis, M. (Author) / Yingst, R. A. (Author) / Williams, David (Author) / Garry, W. B. (Author) / Mest, S. (Author) / Kneissl, T. (Author) / Scully, J. E. C. (Author) / Nathues, A. (Author) / De Sanctis, M. C. (Author) / Le Corre, L. (Author) / Reddy, V. (Author) / Hoffmann, M. (Author) / Ammannito, E. (Author) / Frigeri, A. (Author) / Tosi, F. (Author) / Preusker, F. (Author) / Roatsch, T. (Author) / Raymond, C. A. (Author) / Jaumann, R. (Author) / Pieters, C. M. (Author) / Russell, C. T. (Author) / College of Liberal Arts and Sciences (Contributor)
Created2014-03-14
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Vesta is a unique, intermediate class of rocky body in the Solar System, between terrestrial planets and small asteroids, because of its size (average radius of ∼263 km) and differentiation, with a crust, mantle and core. Vesta’s low surface gravity (0.25 m/s2) has led to the continual absence of a

Vesta is a unique, intermediate class of rocky body in the Solar System, between terrestrial planets and small asteroids, because of its size (average radius of ∼263 km) and differentiation, with a crust, mantle and core. Vesta’s low surface gravity (0.25 m/s2) has led to the continual absence of a protective atmosphere and consequently impact cratering and impact-related processes are prevalent. Previous work has shown that the formation of the Rheasilvia impact basin induced the equatorial Divalia Fossae, whereas the formation of the Veneneia impact basin induced the northern Saturnalia Fossae. Expanding upon this earlier work, we conducted photogeologic mapping of the Saturnalia Fossae, adjacent structures and geomorphic units in two of Vesta’s northern quadrangles: Caparronia and Domitia. Our work indicates that impact processes created and/or modified all mapped structures and geomorphic units. The mapped units, ordered from oldest to youngest age based mainly on cross-cutting relationships, are: (1) Vestalia Terra unit, (2) cratered highlands unit, (3) Saturnalia Fossae trough unit, (4) Saturnalia Fossae cratered unit, (5) undifferentiated ejecta unit, (6) dark lobate unit, (7) dark crater ray unit and (8) lobate crater unit. The Saturnalia Fossae consist of five separate structures: Saturnalia Fossa A is the largest (maximum width of ∼43 km) and is interpreted as a graben, whereas Saturnalia Fossa B-E are smaller (maximum width of ∼15 km) and are interpreted as half grabens formed by synthetic faults. Smaller, second-order structures (maximum width of <1 km) are distinguished from the Saturnalia Fossae, a first-order structure, by the use of the general descriptive term ‘adjacent structures’, which encompasses minor ridges, grooves and crater chains. For classification purposes, the general descriptive term ‘minor ridges’ characterizes ridges that are not part of the Saturnalia Fossae and are an order of magnitude smaller (maximum width of <1 km vs. maximum width of ∼43 km). Shear deformation resulting from the large-scale (diameter of <100 km) Rheasilvia impact is proposed to form minor ridges (∼2 km to ∼25 km in length), which are interpreted as the surface expression of thrust faults, as well as grooves (∼3 km to ∼25 km in length) and pit crater chains (∼1 km to ∼25 km in length), which are interpreted as the surface expression of extension fractures and/or dilational normal faults. Secondary crater material, ejected from small-scale and medium-scale impacts (diameters of <100 km), are interpreted to form ejecta ray systems of grooves and crater chains by bouncing and scouring across the surface. Furthermore, seismic shaking, also resulting from small-scale and medium-scale impacts, is interpreted to form minor ridges because seismic shaking induces flow of regolith, which subsequently accumulates as minor ridges that are roughly parallel to the regional slope. In this work we expand upon the link between impact processes and structural features on Vesta by presenting findings of a photogeologic, structural mapping study which highlights how impact cratering and impact-related processes are expressed on this unique, intermediate Solar System body.

ContributorsScully, Jennifer E. C. (Author) / Yin, A. (Author) / Russell, C. T. (Author) / Buczkowski, D. L. (Author) / Williams, David (Author) / Blewett, D. T. (Author) / Ruesch, O. (Author) / Hiesinger, H. (Author) / Le Corre, L. (Author) / Mercer, Cameron (Author) / Yingst, R. A. (Author) / Garry, W. B. (Author) / Jaumann, R. (Author) / Roatsch, T. (Author) / Preusker, F. (Author) / Gaskell, R.W. (Author) / Schroder, S.E. (Author) / Ammannito, E. (Author) / Pieters, C. M. (Author) / Raymond, C. A. (Author) / DREAM 9 AML-OPC Consortium (Contributor)
Created2014-01-29
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We report on a preliminary global geologic map of Vesta, based on data from the Dawn spacecraft’s High-Altitude Mapping Orbit (HAMO) and informed by Low-Altitude Mapping Orbit (LAMO) data. This map is part of an iterative mapping effort; the geologic map has been refined with each improvement in resolution. Vesta

We report on a preliminary global geologic map of Vesta, based on data from the Dawn spacecraft’s High-Altitude Mapping Orbit (HAMO) and informed by Low-Altitude Mapping Orbit (LAMO) data. This map is part of an iterative mapping effort; the geologic map has been refined with each improvement in resolution. Vesta has a heavily-cratered surface, with large craters evident in numerous locations. The south pole is dominated by an impact structure identified before Dawn’s arrival. Two large impact structures have been resolved: the younger, larger Rheasilvia structure, and the older, more degraded Veneneia structure. The surface is also characterized by a system of deep, globe-girdling equatorial troughs and ridges, as well as an older system of troughs and ridges to the north. Troughs and ridges are also evident cutting across, and spiraling arcuately from, the Rheasilvia central mound.

However, no volcanic features have been unequivocally identified. Vesta can be divided very broadly into three terrains: heavily-cratered terrain; ridge-and-trough terrain (equatorial and northern); and terrain associated with the Rheasilvia crater. Localized features include bright and dark material and ejecta (some defined specifically by color); lobate deposits; and mass-wasting materials. No obvious volcanic features are evident. Stratigraphy of Vesta’s geologic units suggests a history in which formation of a primary crust was followed by the formation of impact craters, including Veneneia and the associated Saturnalia Fossae unit. Formation of Rheasilvia followed, along with associated structural deformation that shaped the Divalia Fossae ridge-and-trough unit at the equator. Subsequent impacts and mass wasting events subdued impact craters, rims and portions of ridge-and-trough sets, and formed slumps and landslides, especially within crater floors and along crater rims and scarps. Subsequent to the formation of Rheasilvia, discontinuous low-albedo deposits formed or were emplaced; these lie stratigraphically above the equatorial ridges that likely were formed by Rheasilvia. The last features to be formed were craters with bright rays and other surface mantling deposits.

Executed progressively throughout data acquisition, the iterative mapping process provided the team with geologic proto-units in a timely manner. However, interpretation of the resulting map was hampered by the necessity to provide the team with a standard nomenclature and symbology early in the process. With regard to mapping and interpreting units, the mapping process was hindered by the lack of calibrated mineralogic information. Topography and shadow played an important role in discriminating features and terrains, especially in the early stages of data acquisition.

ContributorsYingst, R. A. (Author) / Mest, S. C. (Author) / Berman, D. C. (Author) / Garry, W. B. (Author) / Williams, David (Author) / Buczkowski, D. (Author) / Jaumann, R. (Author) / Pieters, C. M. (Author) / De Sanctis, M. C. (Author) / Frigeri, A. (Author) / Le Corre, L. (Author) / Preusker, F. (Author) / Raymond, C. A. (Author) / Reddy, V. (Author) / Russell, C. T. (Author) / Roatsch, T. (Author) / Schenk, P. M. (Author) / College of Liberal Arts and Sciences (Contributor)
Created2014-11-15