Matching Items (4)
Description
Labyrinths is my Capstone/Honors Creative Project, blending my proclivity for music composition and the inspiring stories of Jorge Luis Borges. Originally, the project was outlined as a collection of five to eight songs named for and based on stories in Borges' collection Labyrinths, to be written, recorded, and performed by

Labyrinths is my Capstone/Honors Creative Project, blending my proclivity for music composition and the inspiring stories of Jorge Luis Borges. Originally, the project was outlined as a collection of five to eight songs named for and based on stories in Borges' collection Labyrinths, to be written, recorded, and performed by me. Over time other aspects were included, making me a director of a large-scale creative project which now included three other musicians and two artists. In this paper, I give a brief overview of Borges' life and the context surrounding his collection Labyrinths, an in-depth description of the project as a whole, liner notes for each song, credits, and three appendices. The liner notes are broken into four sections: a summary of the story, an analysis of the story and my interpretation of it (including my musical ideas for the resulting song), an effects list, and performance notes which include the text I read from each story in the performance and recordings. The first appendix is a collection of the sheet music scores for each song and the text document I used for the performance readings. The second appendix shows the art I was given permission to use, and how I modified them for my thesis. The third appendix contains my primary sources, secondary sources/suggested readings, and suggested websites and videos. Attached are the recordings of each song I made in Logic Pro 9, a video of the live performance, and an unedited audio recording of the same performance.
ContributorsVidean, Matthew Cutter (Author) / Stauffer, Sandra (Thesis director) / Feisst, Sabine (Committee member) / Downey, Ryan (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / School of International Letters and Cultures (Contributor)
Created2014-12
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Description
Computer Science and Dance are choice driven disciplines. The output of their processes are compositions of experience. Dancers are not computers and computers are not people but there are comparable traces of humanity in the way each interpret and interact with their respective inputs, outputs, and environments. These overlaps are

Computer Science and Dance are choice driven disciplines. The output of their processes are compositions of experience. Dancers are not computers and computers are not people but there are comparable traces of humanity in the way each interpret and interact with their respective inputs, outputs, and environments. These overlaps are perhaps not obvious, but in an increasingly specialized world it is important to discuss them. Dynamic Programming and improvisational movement exist within exclusive corners of their respective fields and are characterized by their inherent adaption to change. Inspired by the work of Ivar Hagendoorn, John Cage and other interdisciplinary artists, complexMovement is motivated by the need to create space for intersections between these two powerful groups and find overlaps in the questions they ask to achieve their goals. Dance and Computer Science are just one example of hidden partnerships between their respective fields. Their respective sides allow for ample side by side comparisons but for the purpose of this work, we will focus upon two smaller sectors of their studies: improvisational movement and the design of Dynamic Programming algorithms.
ContributorsOhlsen, Lai Yi Ni (Author) / Britt, Melissa (Thesis director) / Crissman, Angel (Committee member) / Standley, Eileen (Committee member) / Computer Science and Engineering Program (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
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Description
This paper features analysis of interdisciplinary collaboration, based on the results from the Kolbe A™ Index of students in the Nano Ethics at Play (NEAP) class, a four week course in Spring 2015. The Kolbe A™ is a system which describes the Conative Strengths of each student, or their

This paper features analysis of interdisciplinary collaboration, based on the results from the Kolbe A™ Index of students in the Nano Ethics at Play (NEAP) class, a four week course in Spring 2015. The Kolbe A™ is a system which describes the Conative Strengths of each student, or their natural drive and instinct. NEAP utilized the LEGO® SERIOUS PLAY® (LSP) method, which uses abstract LEGO models to describe answers to a proposed question in school or work environments. The models could be described piece by piece to provide clear explanations without allowing disciplinary jargon, which is why the class contained students from eleven different majors (Engineering (Civil, Biomedical, & Electrical), Business (Marketing & Supply Chain Management), Architectural Studies, Sustainability, Anthropology, Communications, Philosophy, & Psychology).

The proposed hypotheses was based on the four different Kolbe A™ strengths, or Action Modes: Fact Finder, Follow Through, Quick Start, and Implementor. Hypotheses were made about class participation and official class twitter use, using #ASUsp, for each Kolbe type. The results proved these hypotheses incorrect, indicating a lack of correlation between Kolbe A™ types and playing. The report also includes qualitative results such as Twitter Keywords and a Sentiment calculation for each week of the course. The class had many positive outcomes, including growth in the ability to collaborate by students, further understanding of how to integrate Twitter use into the classroom, and more knowledge about the effectiveness of LSP.
Created2015-12