University of Southern California Dissertations and Theses

Beautiful corner

(USC Thesis Other)

Beautiful corner

PDF

Download a page range

Download transcript

Copy asset link

Request this asset

Transcript (if available)

Content Beautiful Corner

By
Martzi Campos

Master of Fine Arts
Interactive Media & Games Division
School of Cinematic Arts
University of Southern California
August, 2016

Beautiful Corner Page 2 of 16 Beautiful Corner Page 2 of 16
Table of Contents
Introduction………………………………………………………………………………………..3
Project Description………………………………………………………………………………...4
Project Trajectory………………………………………………………………………………….8
Story Development………………………………………………………………………………11
Game Design…………………………………………………………………………………….12
Conclusion……………………………………………………………………………………….14
Work Cited ……………………………………………………………………………………....16

Beautiful Corner Page 3 of 16 Beautiful Corner Page 3 of 16
Introduction

As gaming expands the range of experiences it offers and also gains acceptance among a
broader, larger and more diverse population, a desire has arisen for play experiences in the real
world that mirror those in digital gaming.

The escape room is one of the new gaming genres that have developed in response to this
demand. Developed along the same lines as similarly named digital adventure games, escape
rooms are physical rooms a group of players is “locked” into under such pretenses as escaping a
killer lair or robbing a bank. The group works collaboratively to solve a series of interactive
puzzles in order to win by escaping before a set time limit.

Interactive theatrical productions offer another type of real world play experience. New
York City’s “Sleep No More”, a site-specific silent version of Macbeth co-produced by
Punchdrunk Productions of London and Emursive, is a noteworthy example. The audience
members don uniform masks and walk at will through the multi-room set, mingling with and
following the actors from room to room. “Sleep No More” is considered both promenade theater
(the audience walks at their own pace in the production) and environmental theater (the
theatrical set is not in a playhouse but is an imitation of the setting of the action of the play). In
the case of “Sleep No More”, the production takes place in what appears to be a luxury hotel
operating in New York in the 1930’s.

And then there are other forms of real world play experiences that have been popular for
some time. Laser tag, and live action roleplaying (LARP) both focus on teams and (for the most
part) combat between players. Unlike laser tag, in which the players do not take on different
personae when playing, LARPs by their nature require the players to create roles for themselves
in the play space. A salient feature of LARPs is the complexity of the integration of each player’s
character into the larger play world being collaboratively and simultaneously created by all the
participants’ characters together.

All of these real world play experiences are group experiences and, as such, they lack a
feature that is incredibly overwhelmingly prevalent in digital games, which is the point of view

Beautiful Corner Page 4 of 16 Beautiful Corner Page 4 of 16
of the player as the main character of the story. Digital games often cater to the player by
tailoring the world around them- but most real world play experiences require the player
construct their own meaning out of the adventure. Many interactive theatricals and escape rooms
place participants on the fringes of the world they experience or in an adversarial role. Players
enter either to observe the environment or to outsmart it. Additionally, the pressures of group
dynamics may render many too shy to role-play. Escape rooms by their nature create an
environment where the player is rushing to leave. They have strict time limits and a strong
emphasis on solving the puzzles to effect the escape. This construct leaves little time to engage
with the space in anything other than a rushed exploration.

While escape rooms are very entertaining, I want to create an emotional tone in an
interactive space of something besides fear or panic. My vision consists of a space in which a
player can start to sink into a different world, to become a character in it. Puzzles are solved not
in order to escape from this different world, but to explore that world and its story more deeply.
By creating a single player experience I hope to facilitate a higher degree of roleplaying
opportunities for the player. I want to bridge the emotional tones of interactive theater with the
gameplay of escape rooms, and create a hybrid that sets a player up as the main character in their
own interactive play, with the room acting as their foil. I want to an opportunity for the player to
play as someone else, in a world more magical than their own, where a story is waiting to be
uncovered and their choices matter.

Project description

On a general level, Beautiful Corner is an interactive narrative installation. It has a set,
and lights and sounds that react to the player’s progress. Two interactive puzzles are used to
convey the narrative of the installation. It is designed for one person to play at time. The player is
asked to assume the identity of a specific character, and is given costuming and props. The
player enters the set and explores both puzzles in order to see how the puzzles relates to the
character they are playing. As they play through the two puzzles the set reacts to their progress
by lighting and music changes. The experience ends with the player being asked to make a

Beautiful Corner Page 5 of 16 Beautiful Corner Page 5 of 16
narrative choice on the outcome of the story. After choosing, the player experiences one of two
possible endings.

On a more specific level, here’s how the actual game play breaks down.

1. A game runner gives the player a brief rundown of the rules and expectations of
the experience, including the direction that the player will be playing a character
named Avery. The player is handed an overcoat with a letter in the pocket
addressed to Avery. The letter is written by someone claiming to be named
Rabbit, an imaginary friend from Avery’s childhood. The letter says Rabbit
desperately needs Avery’s help, and requests Avery to come to this address, to
Beautiful Corner. Rabbit expresses the hope that Avery is as curious as when
Avery was a child.

2. The player is then introduced to a game runner playing the role of “house sitter”.
The game runner is in character, calls the player Avery, and invites them onto the
set. The house sitter tells the player to call them if they need any help and then
leaves them to explore the space.

3. The set itself consists of two walls and an angled half celling, creating the feeling
of an attic room. It is decorated with 3 lights giving off a warm glow. At first a
radio plays a cheerful summer song. A child’s bed, a desk with small chest of
drawers on top, a painting hanging on the wall and a large toy chest all sit inside
of the space.

4. Above the chest of drawers hangs a sign from the ceiling directing the player to
start at the chest. The chest has 12 drawers, each labeled with a month- starting
from the top left drawer - September – and going down to the bottom right
drawer, labeled August. The September drawer is already open and the August
drawer is the only drawer that is locked. As the player explores this first puzzle it

Beautiful Corner Page 6 of 16 Beautiful Corner Page 6 of 16
is revealed the drawers contain a year’s worth of letters and gifts Avery had sent
to a friend called Alex. Avery had met Alex at summer camp- and they had
called each other by the nicknames Fox and Rabbit respectively. Their letters also
speak of a spring of water the two of them found at camp. Convinced it had
special magical properties, Alex/Rabbit took a vial home with him. As the player
Avery/Fox opens and reads each letter it becomes apparent Alex’s claims about
the magic spring water are growing more and more elaborate, and at the same
time the correspondence reveals Avery’s growing doubts about any magical
properties. The final letter -sent by Avery in July - accuses Alex/Rabbit of not
even being a real person, not a real friend but an imaginary being.

5. Each drawer that contains a letter (6 out of the 11 drawers aside from August)
must be pulled open in a special order so that August will unlock. There are two
ways to solve the puzzle, first from the clues hidden in the letters themselves or
by the 6 LED lit marbles on top of the chest of drawers, each of which correlates
to a drawer with a letter, and turn green or red depending on if it was opened in
the right sequence.

6. Once the August drawer is open, the lighting in the room shifts, as does the music.
The music stops playing out of an old radio and now comes from surround sound.
The melody has changed as well, and is now more mysterious. The warm orange-
ish lights have now shifted to blue and green, giving the room a more magical
feeling.

7. The letter in the August drawer now confronts Avery with the fact that
Alex/Rabbit and the magic water are both very real and not pretend as Avery had
rationalized. Alex/Rabbit, having now re-established their past history together,
asks Avery to help Alex/Rabbit decide what to do with the magic water.
Alex/Rabbit has become so transformed by the water that Avery’s childhood
friend has almost become two entirely split personalities at this point. One

Beautiful Corner Page 7 of 16 Beautiful Corner Page 7 of 16
persona, going by their given name Alex, wanting to finally enter the world of
adulthood and reality, demands that the last of the magic water be destroyed. The
other persona, going by the nickname of Rabbit, argues that the world of real
childhood magic is too wondrous to give up, despite the dangers. Alex/Rabbit
jointly realize they are unable to make the decision themselves- and reveal that’s
the reason Avery was asked here. The August letter reveals there is a scavenger
hunt set up in the room for gathering evidence supporting both sides. A magic
painting will reveal where the magic water is when enough evidence has been
collected.

8. The player then must locate objects with attached postcards throughout the room.
Each object found is one that has been affected by the magic water. The
postcards are either written by Alex or Rabbit explaining their case for why the
water is a good or bad thing. Each post card has a colored stamp on it, and when
the player has found 3 postcards with the correct colored stamps, the player takes
them to the painting on the wall, which has a perfect spot to which the postcards
can be held up. Each time when the painting is “shown” the correct color stamp- a
section of the painting is lit. After all three stamps have been input the painting
unlocks and swings open on one side, revealing a key to the toy chest behind the
painting where the magic water is kept.

9. Once the painting opens- the room and music change again, now becoming even
more magical and mysterious.

10. The final choice occurs when the player opens the toy chest and must decide what
to do with the water itself. They can either drink it and let the magic continue, or
dump it out and let it all fade away. After the player makes the choice they are let
out of the set by the “house sitter”. As they leave, they are given a letter, saying it
came for them while they were in the room. The letter is from Alex or Rabbit,
thanking them and explaining the outcome of their particular decision.

Beautiful Corner Page 8 of 16 Beautiful Corner Page 8 of 16

Project Trajectory
So, why not just do this whole experience digitally? There are many digital escape rooms
that are far more convenient to play and just as, if not more so, complex and beautiful. The
Room is a wonderful example of a beautifully designed and aesthetically pleasing escape room.
The puzzles and rooms in the game would be either impossible or prohibitively expensive to
create in real life. With digital clearly able to outstrip actual physical rooms in this regard, why
bother creating physical works at all? With virtual reality becoming more readily and easily
available, this question is even more pressing.

I firmly believe in the power of the tangible quality of physical space and physical
objects. No digital experience can compete, not even virtual reality. Both screens and stages act
as barriers between the viewer/player and the unfolding story. Both remove the player from the
actual action of the piece. Most interactions with an environment on stage or on screen engage
only the eyes and ears- and sometimes the input of a button or the rumble of the controller.

A game of soccer and a digital soccer game have essentially the same rules and imagery.
But the players of each have very different experiences. That’s not to say I’d prefer one to the
other, but a digital soccer game certainly doesn’t negate the appeal of the actual sport. The
current popularity of physical escape rooms supports my belief. There is something compelling
about actually being in a space, of being in the ‘real world’ and experiencing concrete reality
directly for yourself.

My particular interest is in creating magical real world play experiences. I am partial to
this definition of magic – “a quality that makes something seem removed from everyday life,
especially in a way that gives delight.” ( “Definition of Magic in English”1).
Just so - when magic happens in a physical space it creates a special sort of delight. A
“magical” event in a space we deem as part of the “real world” is much more powerful and
transformative than one on a screen or a stage. For example, seeing a magician perform in front
of you in your living room is more impressive and wondrous than watching one television, or
even in a theater.

Beautiful Corner Page 9 of 16 Beautiful Corner Page 9 of 16

In my earlier works I explored different approaches to creating a magical quality physical
interactive spaces and objects not only by themselves but how they can enhance a digital work.

My earliest work on this subject was in my undergraduate program where I focused on
creating magical spaces. Working primarily in fabric I created 3 installation pieces, each playing
with the ideas of floating or flying- which I found to be very magical sensations. “ Aquarium” is
twenty assorted fabric fishes suspended in a blue tent made to simulate the feel of an aquarium. “
Sky” is an installation designed for my studio space in which the viewer lies down on the blue
pillow on the floor and looks up to the ceiling to see clouds, with green grass and flowers
“below”, and experiences a feeling of flying. “Universe” consists of sixty-four Styrofoam
globes, covered in fabric collage, suspended from a 15-foot dome in a gallery space. The goal for
this installation was to create a mini-universe of planets and to evoke a feeling both of outer
space and an expansive sense of scale in a confined space. Each of the installations was
successful in transforming the space into something new, but the viewer interaction was very
limited. Two only permitted the viewer to gaze at the work, and while Sky invited the player to
lie down in the middle of it, there was no interaction beyond that.

My first foray into more interactive pieces involved working with microprocessors. It
was a performance piece that involved transferring a demon trapped in an ancient tome into a
more updated trap of a processing code. Two props were created; a summoning circle with five
candles around a pentagram - that lit up when two sets of hands were placed on the corners of it.
Second, the ancient tome- when liquid was poured into its mouth (in the case of the performance,
red Kool-Aid made to look like blood) the book’s eyes would light up, and a voice from inside
the book would demand to be set free- followed by the book make a loud knocking sound. Both
props helped create the atmosphere of the piece. Combined with costuming and the projection of
a fake desktop that slowly changed to a more menacing background, the performance was able to
create a dramatic, if slightly ridiculous performance.

What was exciting about these two props is that they came to life not by the flick of a
switch, or press of a button, but exactly how they would in a story- with the joining of two hands

Beautiful Corner Page 10 of 16 Beautiful Corner Page 10 of 16
or with a letting of ‘blood” into the demonic book’s mouth. While the actual premise and
performance boarded on silly- the book and the summoning circle made the experience
believable. The audience participation was higher and more involved than at my earlier
undergraduate installations, but they still were seen primarily as observers of the experience.

I had greater success in creating magical spaces or objects and in shifting people from
observers to players when I combined magical spaces or objects with a digital game.

“The Meadow” is a game played entirely in virtual reality (V.R.) I helped create with
Richard Lemarchand and a team of students. The game is housed in a tent decorated to resemble
a forest glade. The player enters the tent with an attendant and is directed to sit on a lush green
carpet, surrounded by fabric grass pads, stones and branches. The tent serves the purpose of
making the transition to VR more magical. Instead of just being handed a plastic headset the
player, by entering the tent, is induced to shift their perception of their environment., and can
more readily begin to transition into the world they will experience within the VR headset.

The most important physical element of the tent is a large foam rock stitched with a
smiling face that is introduced to the player before they start the VR game. The friendly rock is
placed next to them before they start the VR experience. As the VR portion begins, the player
sees the same smiling rock in the VR headset. As they gaze at it, it rolls right up to them, which
causes many players to physically reach out to the rock sitting next to them. Even if the physical
rock isn’t in the exact same spot as the one in VR, the player correlates the two rocks as being in
the same space. It brings a tangible element into the VR game they are experiencing. Both the
tent setting and the foam rock character help create a more transformative experience than if the
player was just given a VR headset and told to sit in an office chair.

Still, because of the nature of VR, the tent and props like the rock could not be
experienced visually at the same time as the VR portion. They served as a transition point into
and out of the VR experience as opposed to being fully integrated throughout the experience.

Beautiful Corner Page 11 of 16 Beautiful Corner Page 11 of 16
Another interactive project that I co- created with Yuting Su combined both a digital
game and a physical object at the same time. “ Curiouser & Curiouser” is an interactive pop-up
book based on Lewis Carroll’s Alice’s Adventure’s in Wonderland. It has a physical component
(the pop-up book), which has inputs that interact with the digital component (the Unity game
that’s played on screen). The sensors inside the pop-up book can tell when the book’s pages
have been turned- leading to a new game level on the screen.

There are also intractable elements on each page of the pop-up book, which then control
the corresponding game on the screen. The final page features the croquet scene with the Queen
of Hearts. In the book every time the pop-up hedgehog is flicked - the hedgehog on the screen
rolls across some terrain. The pop-up book enhanced the gameplay on the screen tremendously.
The novelty of the book as a controller made the game’s interactions more interesting- especially
when the controls (like the hedgehog flicking) mimicked the action happening on the screen.

“Curiouser & Curiouser” is the work, which made me reflect more deeply on
technology’s place in magical interactions. iPhones are amazing pieces of technology, but do not
necessarily evoke magical feelings. When people expect tech they don’t see magic, but when
they aren’t expecting it- as in the case of a pop up book- even a simple piece of technology can
imbue the object with seemingly magical, delightful properties. It is all about how you present
the work.

My goal for my thesis work was to combine the set & world building of both “The
Meadow” and my early undergraduate installations with objects that seems more magical than
technological, like “ Curiouser & Curiouser”, and then to add in the theatricality of the demon
summoning performance.

Story Development
One thing that my early explorations lacked was comprehensive story in which the player
could assume a role in the built world. “Curiouser & Curiouser” had the player as the reader of
Alice’s adventures, and even in “The Meadow” the player remained themselves, a visitor into
another world. I knew that in order to have more player immersion I would have to create a

Beautiful Corner Page 12 of 16 Beautiful Corner Page 12 of 16
story that would be built around them, a story player could find familiar, and easy in which to
slip into a role, without it being obvious or cliché.

My first thought was to adapt a known story- “Sleep No More” can allow its viewers to
watch a story out of sequence because so many are already familiar with the story of Macbeth.
As an artist it is also my usual preference to adapt from other sources as well. I like to modify
and change up pre-existing structures, to find possibilities in the limits they provide. One of my
challenges with “Beautiful Corner” was in finding or creating a story and world that could easily
be conveyed through set and props alone. It would have to familiar enough so any player could
navigate the space without too much instruction. A second challenge in regard to the story was
in crafting magical interactions, which required having a story that included a magical element.
Defining what type of magic that would be was tricky. There are many different kinds of magic
and magic traditions in stories with many different rules and systems on how each particular kind
of magic worked. I needed to find one that was intuitive and easily understood.

Because of the requirements of an easily understood setting and a magic element I had a
very difficult time finding a work to adapt that would also feel compelling and appropriate for
my time and space limits. In the end it was my requirements in regard to the magical interactions
that helped me make the decision to go with an original story. I considered many types of
magical interactions, but the one that seemed to be most relatable was the magic that people
believe in as children. I considered the point and place in childhood where and when that that
kind of magic stops being real (for instance, giving up belief in Santa Claus), and how that can
affect the friendships with other children who still do believe. I think many people have had that
experience on either or both ends, and could easily understand the nature of childhood magic.
After that story element was established, the rest of the story grew around it to best serve the
player and the game mechanics.

Game Design
Regarding the game’s mechanics, that is, the puzzle and narrative design, the biggest
difficulty I had was designing a space that could guide the player along a specific path without
feeling like they were being herded. In a digital game you can control the player by giving them

Beautiful Corner Page 13 of 16 Beautiful Corner Page 13 of 16
set controls and limits. You can even focus their view with a specific camera angle, but real
spaces afford no such luxuries.

I decided to divide the narrative into 3 acts. This way there is a specific sequence to help
guide player though. Act One sets up the past relationship between the player (who is playing the
role of Avery) and the owner of the space (Alex). It is all contained in the first inter-actable
puzzle- the chest of drawers. The player is guided here first by the signage in the room- so that
they are not overwhelmed by the whole space at once. The signage also helps control the actions
a player could take. The narrative in the first puzzle is sequential (the 12 months printed on the
drawers of the chest and the dated correspondence in side them). This helps communicate the
important backstory of the piece and set up the actual problem that the player is meant to solve.

Once the backstory and the main conflict are established, the second puzzle, Act Two,
opens up to the whole room. The player is asked to search for non-linear pieces of narrative or
more precisely the “evidence” which is presented on the postcards attached to objects hidden
through out the room. This gives the player the opportunity to explore and actively search the
space, and to develop a deeper sense of the setting after the first puzzle has set up the context.
The narrative on the postcards is done in red/blue reveal- and the red and blue acetate is not
available to the player until after they solve the first puzzle. This is so that even if they decide to
explore the room earlier on, they will still discover additional meaning after solving the first
puzzle.

While the structure of the three acts helps guide players through the game, it was also
important to ensure the puzzles were not too difficult to solve and thus frustrate a player’s
progress. Unlike escape rooms Beautiful Corner has to function with only one person playing it
at a time. When it comes to puzzles, many heads are better than one, and what recourse would
there be if the single player of Beautiful Corner became stuck? The solution was to design
puzzles that, while not at all difficult, were nonetheless very satisfactory to solve and fit
believably into the narrative.

Beautiful Corner Page 14 of 16 Beautiful Corner Page 14 of 16
In fact the whole idea of the installation being puzzle driven is a bit of fabrication. The
first act puzzle is indeed designed to be a puzzle. Since Beautiful Corner is most relatable to an
escape room, I created the first act to mimic that atmosphere. The chest of drawers has a code
and a sequence that must be figured out to open a lock, both standard escape room mechanics.
Once the context and backstory were established, the second act puzzle could be even less
complex. It is merely a scavenger hunt, more reliant on art pieces and story, functioning on the
presumption that the player is now more invested in the story than in simply solving puzzles.
Each puzzle gates the narrative, rewarding the player’s progress with more of the story. The
final act relies entirely on choice, there is no puzzle, and only the weight of the story up to this
point adds tension and imbues makes the player’s choice with meaning.

Conclusion

I first heard the phrase Beautiful Corner as a game design term in a production class. It
meant a small section of an unfinished level that has all the art and polish of a finished game. It
acts as a preview of what’s to come, showing what the much larger design might look like.

I designed Beautiful Corner to be a complete experience, but to start to lay the footwork
for a bigger space. There’s just one story branch in Beautiful Corner, only room for one person
in the space, and in the story. But if it was more than a corner, if there were more branches, more
rooms, and a bigger story, more people could partake. My interest was never to invest only in
solo experiences- just to make sure the experience created made each player feel special and at
the center of something exciting. I don’t think this type of experience will ever have Disneyland
levels of foot traffic through it, but neither do modern escape rooms now- and they don’t seem to
suffer for it.

On my own personal artistic level, I have always said that I have achieved my goal if my
work creates for adults the same sort of play experience a McDonald's play place creates for
children. Children play ‘pretend’ and easily remove themselves from their surroundings. As we
age we lose that ability, and it becomes harder and harder to enter imaginary realms. Children
can imagine a jungle gym set as nearly anything, but adults need more assistance. I have had my

Beautiful Corner Page 15 of 16 Beautiful Corner Page 15 of 16
work called childish or whimsical, and some times as an insult, but I am unapologetic. A year
ago when I began this piece I didn’t now why the story of Beautiful Corner about the loss of
childhood magic spoke so strongly to me. Looking back, it is clear to me that that theme is not
only the heart of this piece, but of my own artistic motivation as well. Beautiful Corner asks you
to pretend, to play that for a moment the room reacts around you not because of Bluetooth and
Arduino, but because it really is magical. I want to create works that act as bridges as well as
destinations for the imagination, inviting us to destinations of otherworldly strangeness,
weirdness, drama and beauty that, for all their uniqueness, resonate and help reframe our view of
our everyday worlds.

For me Beautiful Corner is a beautiful corner of that goal. A small portion, built out, to show the
possibility of something grander, not yet built.

Beautiful Corner Page 16 of 16 Beautiful Corner Page 16 of 16
Works Cited
1. "Definition of Magic in English:." Magic: Definition of Magic in Oxford Dictionary
(American English) (US). N.p., n.d. Web. 02 July 2016.

Abstract (if available)

Linked assets

University of Southern California Dissertations and Theses

Conceptually similar

PDF

Tracking Ida

PDF

Bardcore!

PDF

Within a fold: an exploration of alternative controllers and childhood storytelling

PDF

The moonlighters: a narrative listening approach to videogame storytelling

PDF

Life On A String: an ink painting narrative game

PDF

The mountain calls: an exploration of immersive storytelling through art and level design

PDF

There You Are: an exploration of storytelling methods using in video games

PDF

The illusion of communication

PDF

My friend and me

PDF

The Toymaker's Bequest

PDF

a•part•ment

PDF

Come with Me: a cooperative game focusing on player emotion

PDF

Southland

PDF

The Distance: a cooperative communication game to long-distance players

PDF

BONDS: an asymmetrical collaborative adventure game on exploring the player's emotional connection and emergent gameplay

PDF

OCTOBO: the interactive storytelling plush octopus

PDF

Lost together

PDF

The make of The Surveillant: a thesis project ""postpartum""

PDF

Resurrection/Insurrection

PDF

Cardamom: an experimental videogame musical

Asset Metadata

Creator Campos, Martzi (author)

Core Title Beautiful corner

School School of Cinematic Arts

Degree Master of Fine Arts

Degree Program Interactive Media

Publication Date 08/12/2016

Defense Date 08/13/2016

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag game design,interactive art,interactive game,OAI-PMH Harvest,physical installation

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Lemarchand, Richard (committee chair), Hughes, Diana (committee member), McHugh, Maureen (committee member)

Creator Email martzic@gmail.com,mccampos@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c40-301938

Unique identifier UC11279610

Identifier etd-CamposMart-4773.pdf (filename),usctheses-c40-301938 (legacy record id)

Legacy Identifier etd-CamposMart-4773.pdf

Dmrecord 301938

Document Type Thesis

Format application/pdf (imt)

Rights Campos, Martzi

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA