Every season from September to March in Taiji, Japan, around 23,000 dolphins, and other small cetaceans are slaughtered or sold to dolphinariums in the name of a 400-year-old tradition. The word ‘tradition’ is often used to rationalize and justify the terrible acts of animal cruelty, as seen in many countries such as bullfighting in Spain, fox hunting in Britain, Thanksgiving in America, and drive hunting in Japan. However, just because something is deemed as a tradition, does not mean it should not be challenged and judged against the standards of morality. Whale and dolphin hunting has stopped becoming a proud cultural tradition of small-scale subsistence whaling and has become a business run on wholesale slaughter and the exploitation of another species. The disconnect between the past and present has led to an evil distortion of the past.
However, this event cannot simply be explained by blaming solely greed and selfishness for driving this long-lasting tradition. By analyzing poems by Misuzu Kaneko, early hunting methods, memorial services, and graves built in the past and comparing them to the current hunting methods, dolphin shows, and the Taiji Whale Museum, one can determine the variety of factors driving these actions and find the point in time when the intentions of these practices shifted. By having a better understanding of the past and the present, one can follow a once-proud tradition becoming a source to justify unethical and cruel behavior.

Physical appearance is an important communication tool that involves the way people define themselves and others around them. Clothing is a major component of physical appearance. When people can understand how different clothing styles flatter their specific body shapes, they can use clothing as a means to manipulate their physical appearances. In this way, people can choose deliberate clothing to send out purposeful visual messages that align with their goals and interests. Understanding how clothing affects visual appearance can be a very complicated task (Ilnitsky, 2018; Nix-Rice, 2014). There should be a simple and way for people to pick clothes that will specifically look good on their body. The purpose of this current study is to introduce a new method of online shopping that collects users’ body dimensions and shows them clothing that will flatter their particular body shape. The following study proposes a prototype design for such a shopping experience.

In my creative project I created a video essay examining the mechanical differences found in the games, Dark Souls and Sekiro: Shadow's Die Twice from developer, FromSoftware. I analyze these mechanical changes and their potential impact on players mindsets and playstyles. I pull from my own experience as well as Katherine Isbister, and the wider internet discourse on game design.

Affective video games are still a relatively new field of research and entertainment. Even
so, being a form of entertainment media, emotion plays a large role in video games as a whole.
This project seeks to gain an understanding of what emotions are most prominent during game
play. From there, a system will be created wherein the game will record the player’s facial
expressions and interpret those expressions as emotions, allowing the game to adjust its difficulty
to create a more tailored experience.
The first portion of this project, understanding the relationship between emotions and
games, was done by recording myself as I played three different games of different genres for
thirty minutes each. The same system that would be used in the later game I created to evaluate
emotions was used to evaluate these recordings.
After the data was interpreted, I created three different versions of the same game, based
on a template created by Stan’s Assets, which was a version of the arcade game Stacker. The
three versions of the game included one where no changes were made to the gameplay
experience, it simply recorded the player’s face and extrapolated emotions from that recording,
one where the speed increased in an attempt to maintain a certain level of positive emotions, and
a third where, in addition to increasing the speed of the game, it also decreased the speed in an
attempt to minimize negative emotions.
These tests, together, show that the emotional experience of a player is heavily dependent
on how tailored the game is towards that particular emotion. Additionally, in creating a system
meant to interact with these emotions, it is easier to create a one-dimensional system that focuses
on one emotion (or range of emotions) as opposed to a more complex system, as the system
begins to become unstable, and can lead to undesirable gameplay effects.

In this creative thesis project I use digital “scrolleytelling” (an interactive scroll-based storytelling) to investigate diversity & inclusion at big tech companies. I wanted to know why diversity numbers were flatlining at Facebook, Apple, Amazon, Microsoft and Google, and took a data journalism approach to explore the relationship between what corporations were saying versus what they were doing. Finally, I critiqued diversity and inclusion by giving examples of how the current way we are addressing D&I is not fixing the problem.

Through this creative project, I analyzed how COVID-19 has affected the theatre industry. I created a mini-documentary following ASU’s production of Runaways, which was performed without an audience. The final product was a combination of pre-filmed and self-taped scenes. I documented how students were still able to learn and cultivate their skills during a time where most things are virtual. In addition, I analyzed how the shift to filmed theatre has changed the definition of live theatre, including increased accessibility. I also explored the importance of theatre through analyzing the themes of musical theatre performances such as Rent and Runaways. During a time where people cannot gather, artists are still finding a way to create and tell stories.

This project consists of 2 electronic/instrumental musical albums, each with 4 songs, aimed at becoming a source of solo therapy for those affected by mental illnesses. The calm album contains calm and relaxing music to combat anxiety and the HAPPY album contains happy and uplifting music to combat depression. While the musical elements stabilize the listener’s mental state, their own internal dialogue and meditation work to heal the listener’s mental illness.

Music can be an incredibly powerful tool, and in an age where technology allows us to connect with those that don’t live near us, finding ways to use music to encourage that bonding can be incredibly beneficial. Particularly, in a global pandemic such as COVID-19, finding ways to connect with others remotely is more important than ever. In this study, I will be looking at how one artist in particular, Tessa Violet, manages to continue to not only grow her community, but also encourage her community to bond with each other. She achieves this by finding various ways, unique to her and her branding, that allows her community to connect with each other. By using her platform to give scavenger hunts to her fanbase, promoting and fostering community growth through various platforms, and livestreaming in ways unique to her style, she is able to connect her audience with each other. By engaging and observing these various actions on her part, I am able to see and experience this community bonding myself. I also look at ways this might be able to expanded to other artists and their communities as well. The hope is that the internet and social media can be just another form of music encouraging people to connect with one another.