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Unidentified Found Object Song
No full textUnidentified Found Object Song is a 16-page bound book housed in a drop spine book enclosure by AB Gorham. The covers feature a protruding shape covered in book cloth that reminds viewers of flying saucers or other unidentified flying objects. The book’s visuals vary from solid saturated colorful shapes to soft gradients. The text in UFO Song is fragmented and lyrical, contributing to the book’s unknown and intriguing nature. The text draws on written experiences of aliens in encounters and creates a playful space where the reader can reflect upon the idea of truth and understanding. It is through these written experiences, like the ones described throughout UFO research and within books like Allen Hynek\u27s Project Blue Book, that Unidentified Found Object Song is able to create the book\u27s enchanting atmosphere. The text and visuals come together to create a mysterious and dreamlike reading experience.
\u27Unidentified Found Object Song\u27 is an artist book that draws on published documentation of unidentified flying objects (ufos) and other alien phenomenon to create a mysterious visual/reading encounter. This book exists on the edge of visual and textual logic, taking recognizable objects and elements of landscape and defamiliarizing them through digital manipulation, unexpected color combinations, and isolation from context. Each spread contains a vaguely-familiar visual mystery letterpress printed in colors from saturated reds and golds to transparent violets. There is sidewalk cheese, lenticular clouds, and a landscape of crumbs. There is reassurance that what the reader/viewer sees is in fact real. The book ends with a silver landing. The text in the book, densely lyric and fragmented, follows a through-line voice that affirms itself as Transcriptionist, Jokester, Witness. Inspired by research, including J. Allen Hynek’s \u27Project Blue Book,\u27 first-hand alien encounter documentation, and photos, diagrams and sketches from reported sightings, \u27UFO Song\u27 seeks to open up a playful space within the conversation about believability and the shifting nature of truth and understanding. This artist book posits that creating a book-art-reading experience which captures the concept of making familiar things alien could lay the groundwork for larger cultural acceptance of an individual’s distinctive, strange, real, or imagined event. Although, early written accounts, photographs, or videos of unidentified flying objects or alien encounters were often considered to be hoaxes, the real casualty of many of these encounters is the way that these events jeopardize the integrity of the individual who experienced the encounter.
In American Western culture there seems to be a limited capacity for accepting and crediting people’s unique experiences, especially when they don’t align with the status quo. \u27UFO Song\u27 presents imagery and fragments of language in a way that challenges the reader/viewer to make connections, draw conclusions, reveling in an unfamiliar sounds and visual sequences, and maybe even expand their willingness to accept the rarest of visions as possible. — AB Gorhamhttps://scholarship.rollins.edu/book_arts/1138/thumbnail.jp
Journey to the Past: We Were Here
No full textBy presenting personal recorded
conversations with my family along with historical
photographs I make the audience feel as if though
they are a part of the work, welcoming them into the
space. Because I have not fully experienced Vietnam,
I project the same feeling of cultural diaspora with the
audience by simulating a unique conversation
and dining tradition. I better
understood fragments of my family’s experiences
in Vietnam as well as their difficulties adapting to
America thanks to their stories.https://scholarship.rollins.edu/studioart_all/1024/thumbnail.jp
Making the Rollins College Archaeology Lab Accessible through Digital Technologies
Get PDFFrom classrooms to museums, and even private collections, 3D digital models of artifacts can pave the way for a more inclusive and accessible future for archaeology. This thesis looks specifically at how photogrammetry and digital modeling can increase the accessibility and utility of artifact collections housed at the Rollins College Archaeology Lab. It focuses on how we can best preserve these collections while also increasing access to academics, researchers, and the general public alike. By digitizing over 50 models, I created an online repository for these artifacts on Sketchfab (https://sketchfab.com/rollins_archaeology), as well as a step-by-step guide to photogrammetry. Through interviews with local cultural heritage stakeholders, I weighed the pros and cons of the digital models in public outreach, education, and preservation. Finally, I concluded that digital models of artifacts are helpful for public engagement, preservation, and visibility, especially for the Rollins College Archaeology Lab’s collections
National Barriers Impeding the Implementation of NAGPRA: Suggestions from a Small Institution
Get PDFThis thesis focuses on the impact and unrealized potentials of NAGPRA for Indigenous Americans and professional archaeologists following the first thirty years of the law’s existence. After providing some necessary background on the NAGPRA legislation and the context of the law’s passage, I examine these issues through three distinct methods. The first method focuses on a review of published Indigenous and archaeological literature to identify changes in sentiment around the law as well as to identify known hurdles within the process. The second revolves around my experience preparing a NAGPRA inventory for the Rollins College Archaeology Lab. Specifically, I reflect on the issues that made completing the inventory and identifying necessary information difficult. The third method involves an in-depth analysis of the archival records associated with three collections of Indigenous skeletal remains housed within the lab. This case-study analysis highlights similarities and differences among the three collections in terms of the NAGPRA-related challenges they present, while also emphasizing their applicability to broader discussions of ongoing issues with the repatriation process. This work demonstrates that while NAGPRA has made great strides towards repatriating cultural items and repairing relationships with Indigenous peoples, barriers within the process such as unclear provenience, inexperience, and a lack of personnel have impeded this process slowing the return of cultural items. Through an understanding of barriers that exist nationally and the case study analysis, this project looks to identify solutions for small institutions like Rollins College dealing with NAGPRA collections
Skin Deep: Body Positivity and Brand Authenticity
Get PDFThis experiment explores the influence of a plus-size model’s dress (modest or revealing) and skin condition (perfect or imperfect) on participants’ responses to branded body positive Instagram posts. Specifically, participants were randomly assigned to one of the four conditions (i.e., modest-perfect; modest-imperfect; revealing-perfect; revealing-imperfect) to compare their (a) ratings of the model’s attractiveness, (b) emotional responses, (c) perceptions of the sponsoring brand’s authenticity, and (d) purchase intentions. In addition to the four treatment conditions, responses were also compared across participants with varying attitudes toward society’s beauty standards and with high or low body images. The results indicate the condition, the manipulated independent variable exerted significant main and interaction effects with the measured independent variables, beauty standard internalization and body image scores, on all four of the dependent or outcome variables. Overall, participants rated the perfect skin posts the most attractive and the imperfect skin posts the least attractive. However, the revealing posts elicited the strongest positive emotions, and they were rated the most authentic. Finally, the results indicate participants’ purchase intentions were largely determined by their emotional responses to the posts, followed by their authenticity ratings, the model’s dress, and skin condition, but not by their attractiveness ratings. Finally, the implications of these results for both body positivity theories and fashion marketing practices are discussed