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Undergraduate Symposium for Scholarly & Creative Work UNDERGRADUATE SYMPOSIUM FOR SCHOLARLY & CREATIVE WORK SCHEDULE OF EVENTS Tuesday, April 30, 2013 Symposium Judging 9:00 am – 5:00 pm Grand Ballroom at Tutor Campus Center (Judges only – closed to presenters and general public) Wednesday, May 1, 2013 General Presentations, Exhibits, and Displays 11:00 a.m. - 2:00 p.m. Grand Ballroom, Tommy’s Place, and Franklin Suite at Tutor Campus Center Awards Ceremony & Dinner Reception 7:00 p.m. – 8:30 pm Town & Gown ii May 1, 2013 Dear Members of the USC Community: It is my pleasure to welcome you to USC’s 15th Annual Undergraduate Symposium for Scholarly and Creative Work. The Symposium is designed to provide USC undergraduates with the unique opportunity to exhibit and share examples of their significant research, scholarly and creative work with the university community. Although the Symposium is modeled on a professional conference poster session, students may exhibit their work in a variety of ways, such as through posters, art exhibits, and electronic media. All undergraduates are encouraged to participate. An award ceremony recognizing the most outstanding works will take place at the end of the Symposium and includes First Prize awards of $1000 and Second Prize awards of $500 in each of the following categories. Arts Humanities Social Sciences Life Sciences Physical Sciences, Mathematics & Engineering A panel of distinguished faculty will judge submissions in each category. After the judging, you are cordially invited to attend the Award Ceremony at Town & Gown at 7:00 p.m. where the winners will be announced. We hope you enjoy USC’s Undergraduate Symposium, which promises to be a highlight of the semester this year and in many years to come. Sincerely, Elizabeth Garrett Provost and Senior Vice President for Academic Affairs iii The USC Undergraduate Symposium for Creative and Scholarly Work provides undergraduates with the unique opportunity to exhibit and share examples of their significant research and creativity with the university community. This year, we have received over 170 submissions with participation from over 240 students. Students present work in a variety of ways, such as through poster/panel sessions, art exhibits, and electronic media. All undergraduates are encouraged to participate. For some students, the symposium serves as a culmination of work they have produced in partial fulfillment of a senior honors project, or a research project with faculty, both individually and as part of a program. ACKOWLEDGEMENTS On behalf of the Office of Undergraduate Programs and the Office of the Provost, we graciously thank USC faculty and graduate judges for volunteering their time. The success of the undergraduate symposium is largely due to the contribution of their expertise in the judging process. We would like to give special thanks to the USC Trojan Knights and the USC Helenes for their faithful service. Also, we would like to give a warm thanks to the faculty advisors who have sponsored students in this year’s Symposium. Your dedication to embrace teaching through inquiry-based learning has made this event as successful as it has been. And finally, we would like to express our gratitude to the USC Stevens Center for Innovation and the USC Schwarzenegger Institute for State and Global Policy for their time, effort and commitment to this extraordinary event. THANK YOU!!! iv 15th Annual Undergraduate Symposium for Scholarly and Creative Work Table of Contents SCHEDULE OF EVENTS ................................................................................................. ii LETTER FROM PROVOST ELIZABETH GARRETT ................................................... iii WHAT’S IT ALL ABOUT ................................................................................................ iv TABLE OF CONTENTS .....................................................................................................v ARTS ...................................................................................................................................1 HUMANITIES ...................................................................................................................11 LIFE SCIENCES ...............................................................................................................22 PHYSICAL SCIENCES & ENGINEERING ....................................................................50 SOCIAL SCIENCES .........................................................................................................66 INDEX OF PARTICIPANTS ............................................................................................97 INDEX OF PARTICIPANTS BY CATEGORY ............................................................103 v Category: Arts Name(s): Mindy Curtis Submission Type: Individual Project Sponsor(s) and Collaborator(s): Andrew Liang, School of Architecture Arts Format: Creative Work Title: Architecture in the Margins: Urban Sensory Experience Abstract: The urban sensory experience exists as a byproduct—no one plans the roar of the freeway, nor the play of light and darkness walking between the shadows of skyscrapers. It is reduced to a homogenous blur—sounds of autos and the scent of pollution, cold mass of concrete and everywhere, hardness; and as with all blurs, all constancies, this sensory onslaught fades Category: Arts in our awareness to become a grating backdrop for urban life. Name(s): Andrew Sampson Submission Type: Individual Jane Jacobs proposes that in order to Project Sponsor(s) and Collaborator(s): romanticize nature, people need cities. It is Haven Lin-Kirk, Roski School of Fine Arts an idea as old as Paradise Lost, that people Format: Creative Work need evil to recognize good, darkness to Title: &sampson understand light. Differentiation, variation—these are the keys to noticing, Abstract: experiencing, living. Separating, This website is a portfolio of work in highlighting, re-ordering and remixing the design, film production, photography, and urban sensory experience will bring an marketing, I needed to create a cohesive awareness of what the city is. means of displaying my creative interests across a variety of mediums. Developing a But this sensory awareness of the city personal brand allowed me to divide my cannot happen within the closed container portfolio without losing focus and to of the automobile, where temperature and establish an identity on which to base music can be set and left unchanged. future collaborations. Instead it is the pedestrian who has the greatest potential to be aware of his §§§§ surroundings. This is where Union Station comes in—as the new high-speed rail hub and future gateway to Los Angeles, it will become the generative point for foot traffic. The downtown area has attractors of its own to pull in the foot traffic, but the “Rust Belt” lying in the opposite direction does not. My 1 project uses that area as a counterpoint, §§§§ and develops in its wider spaces a car-less, pedestrian-centered park-city, like the Category: Arts centro storico of old-world cities but with Name(s): Debra Hakimi the dynamism and strategic densification that are fast becoming hallmarks of the Submission Type: Individual future city.. Project Sponsor(s) and Collaborator(s): Jennifer Siegal, Architecture §§§§ Format: Creative Work Title: The Densification of Los Angeles Category: Arts through Responsive Micro-Housing Name(s): Eve White Units: Using Alice as the Ideal Client Submission Type: Individual Abstract: Project Sponsor(s) and Collaborator(s): The densification of Los Angeles will lead to Ron Rizk, Roski School of Fine Arts the development of smaller properties and Format: Creative Work shorter daily commutes, which support short-term and long-term sustainable Title: Chaotic Focus practices. Increased square footages of Abstract: current single family homes have led to The series of paintings I made began as unaffordable mortgages and an overall distorted portraits inspired by pixilated housing crisis, so there is a need for more Skype stills, soon transformed into affordable and more responsive micro- complete abstraction. Chaos became the housing units. Alice from Alice in central focus of the work, rather than a Wonderland is the ideal client for these cohesive identity, as elements of figuration units because the storyline imagines a built disintegrated into a bold swarms of environment that is created through pigments. I started to recognize abstract constantly evolving interactions between painting as a means of expressing through the human body and space. The reflection energy, using its unbounded formations of of such a vision results in architecture that light and color to express my scattered is more dynamic and responsive to the non-linear thought process. Since returning user’s changing needs. from Australia, I have continued to develop a series of abstract paintings, exploring These micro-housing units will be inserted different ways to present chaos as a between existing buildings in an urban and harmonious central form. suburban context. This radical proposal goes against current city regulations, which In the United States, certain attributes of require setbacks on all four sides of a my personality are labeled as dyslexia and building. Different prototypes of these units ADHD, but in Australia these same qualities allow for customization based on the are not cast aside as different. I formed my inhabitant’s desires and specific site concept of self through my perception of conditions. The lower floor
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