The project explores how the school of Digital Culture at Arizona State University can create an online marketing video through an attempt in making such a video and a deep research into online video marketing. The first half of the project encompasses an attempt in making a video only using footage captured within Digital Culture from the four years. Using techniques widely used in the media industry, the footage is put together to market the school of Digital Culture. The second half of the project researches how such a video can be created by investigating how an online video stands out with the tools of viral content, rich information, emotional arousal and video construction. Then applies the research to the online marketing videos for college recruiting. Observations of current successful online college marketing videos are made in attempt to document the successful and unsuccessful techniques. The videos used from the University of Oregon. Butler University, and Boston College. After all the research in how an online marketing video stands out and observing the current success of online college videos, then the information learned is then applied to the school of Digital Culture. Now an array of tools, techniques and options are given in how the school of Digital Culture can create an online marketing video for the program.

This study explores the results of an event hosted for undergraduate students in the Arts, Media and Engineering (AME) department at Arizona State University. 18 students were asked to sit and eat lunch with one another and share their opinions on personal and school-related topics. A follow-up survey consisting of eight questions was sent out to gauge how effective this event was in getting students to build stronger relationships with each other. Statistical analysis showed that 89% of students who attended would participate again and consider collaborating with another student at the event in future projects. From these results, a series of future interventions like the one mentioned in this paper could promote stronger relationships among students and add value to the department. A positive response from the students who participated could imply that students might be more inclined to reach out to classmates when in a setting made for that purpose.

No Doors: A Personal Exploration of Movement and Technology, details the interdisciplinary strategies that were used in the making of a series of interactive/reactive/immersive (IRI) installations that drew audiences into an experience and encouraged active observation and/or participation. The interdisciplinary IRI installations described in this document combined movement, sculpture, production design, and various forms of media and technology with environments in which participants had agency. In the process of developing this work, the artist considered several concepts and practices: site-specific, various technologies, real-time processing, participant experience, embodied exploration, and hidden activity. Throughout the creative process, the researcher conducted a series of four focus labs in which a small audience was invited to engage with the work as a way of gathering data about the effectiveness of the installations in facilitating active audience observation and/or participation. The data collected after each focus lab informed the revision of the work in preparation for the next focus lab, with the ultimate result being the production of a final exhibition of five interdisciplinary IRI installations. The installations detailed in this document were loosely based on five elements: water, fire, air, earth, and spirit.

The act of writing music criticism comes with numerous difficulties inherently involved in describing the ineffable qualities of audio in the medium of the written word. My music criticism podcast, Here and Now with Steve Jozef, offers a method of reviewing albums that sidesteps these problems by interweaving the criticism with clips of the songs discussed. This format holds the critic accountable to root their opinion in tangible components in the music, and makes clear the direct line between the qualities of the music at hand and the reviewer's verdict on that music. I wrote, recorded, edited, and distributed 13 episodes of the podcast over the course of six months; I've selected four of those episodes to represent my work for the purposes of the thesis. Their scripts, as well as links to the full episodes, are included with this paper. In addition, I thoroughly researched modern academic thought on the nature, purpose, and future of popular music criticism. This research helped me refine a conception of my ideal theoretical audience for the podcast, forced me to confront and assess my music evaluation criteria through various lenses, and develop the goal of creating a pattern of empathetic listening amongst my listeners. Over the course of developing the project, I ran into several obstacles in using copyrighted material on the show without permission from the copyright holders. Thus the podcast also became a case study in evaluating modern copyright law and its application, and demonstrating what needs to change about both for music criticism to sustain in this form.

The purpose of this project is to artistically express that our perceptions of the visual world are interrupted due to the often overlooked blinking of our eyes. The project was guided by two questions: 1) How is blink rate related to thought and emotion? 2) How does the process of blinking provide context to our life experiences? To link these two concepts together, I constructed a creative editing device that uses a live video feed of the user's eye blinking to randomly launch pre-existing footage of the user's significant life events. The process of creating this project occurred in three distinct steps. In the first step, I recorded 30-second videos to be used as a demonstration when exhibiting the device. In the second step, I attached a camera to a head mount to output a real time video of my eye blinking. In the third step, I created a Max patch that used the video feed of my eye as a trigger to play my pre-recorded clips. The final result was an evocative non-linear narrative of past personal experiences, and the development of the narrative itself is similar to the way in which humans recall memories. The visuals of the blinking eye were placed adjacent to the pre-recorded footage in order to mimic the positioning of two eyes on a face; one side of the display shows my actual eye, and the other side signifies looking back on what my eye has seen. The intended effect was to generate an awareness of the breaks in our vision and how this influences our existence.

The purpose of this project is to artistically express that our perceptions of the visual world are interrupted due to the often overlooked blinking of our eyes. The project was guided by two questions: 1) How is blink rate related to thought and emotion? 2) How does the process of blinking provide context to our life experiences? To link these two concepts together, I constructed a creative editing device that uses a live video feed of the user's eye blinking to randomly launch pre-existing footage of the user's significant life events. The process of creating this project occurred in three distinct steps. In the first step, I recorded 30-second videos to be used as a demonstration when exhibiting the device. In the second step, I attached a camera to a head mount to output a real time video of my eye blinking. In the third step, I created a Max patch that used the video feed of my eye as a trigger to play my pre-recorded clips. The final result was an evocative non-linear narrative of past personal experiences, and the development of the narrative itself is similar to the way in which humans recall memories. The visuals of the blinking eye were placed adjacent to the pre-recorded footage in order to mimic the positioning of two eyes on a face; one side of the display shows my actual eye, and the other side signifies looking back on what my eye has seen. The intended effect was to generate an awareness of the breaks in our vision and how this influences our existence.

Desirable outcomes such as health and wellbeing are tightly linked to people’s behaviors, thus inspiring research on technologies that support productively changing those behaviors. Many behavior change technologies are designed by Human-Computer Interaction experts, but this approach makes it difficult to personalize support to each user’s unique goals and needs. As an alternative to the provision of expert-developed pre-fabricated behavior change solutions, the present study aims to empower users’ self-experimentation for behavior change. To this end, two levels of supports were explored. First, the provision of interactive digital materials to support users’ creation of behavioral plans was developed. In the initial step, a tutorial for self-experimentation for behavior change that was fully scripted with images in succession was created. The tutorial focuses on facilitating users’ learning and applying behavior change techniques. Second, users were equipped with a tool to support their implementation of context-aware just-in-time interventions. This tool enables prototyping of sensor-based responsive systems for home environments, integrating simple sensors (two-state magnetic sensors, etc.) and media event components (wireless sound, etc.).

To evaluate the effectiveness of these two approaches, a between-subject trial comparing the approaches to a sleep education control was conducted with 27 participants over 7 weeks. Although results did not reveal significant difference in sleep quality improvement between the conditions, trends indicating greater effectiveness in the two treatment groups were observed. Analysis of the plans participants created and their revision performance also indicated that the two treatment groups developed more specific and personalized plans compared with the control group.

This thesis describes research into the application of socially reflective, or "Slow", design principles to modern mediated systems, or "Fast" technology. The "information overload" caused by drastic changes in the nature of human communications in the last decade has become a serious problem, with many human-technology interactions creating mental confusion, personal discomfort and a sense of disconnection. Slow design principles aim to help create interactions that avoid these problems by increasing interaction richness, encouraging engagement with local communities, and promoting personal and communal reflection. Three major functional mediated systems were constructed to examine the application of Slow principles on multiple scales: KiteViz, Taskville and Your ____ Here. Each system was designed based on a survey of current research within the field and previous research results. KiteViz is a visually metaphorical display of Twitter activity within a small group, Taskville is a workplace game designed to support collaboration and group awareness in an enterprise, and Your ____ Here is a physical-digital projection system that augments built architecture with user-submitted content to promote discussion and reflection. Each system was tested with multiple users and user groups, the systems were evaluated for their effectiveness in supporting each of the tenets of Slow design, and the results were collected into a set of key findings. Each system was considered generally effective, with specific strengths varying. The thesis concludes with a framework of five major principles to be used in the design of modern, highly-mediated systems that still apply Slow design principles: design for fundamental understanding, handle complexity gracefully, Slow is a process of evolution and revelation, leverage groups and personal connections to encode value, and allow for participation across a widely distributed range of scales.