I decided to simplify the composition of my work in subject matter, color, size and style without destroying its visual impact. Experimentation in surface quality gave variety to the simplified content. My main commitment to the accomplishment of this problem was to avoid complexity in any form. I wanted to give as much information as possible using minimal means.

In this creative project, I investigated the combination of photographic images with more spontaneous visual elements in collaged drawing and monoprints in order to produce both visually strong and personally meaningful works.

The focus of this creative project was the production and presentation of electronic imagery generated by personal computers and peripherals. By it's nature, electronic imagery is dependent on light. I proposed that the exhibition project would include computer graphics images presented in a variety of formats, both static and moving.

The Untidy Story of Goldie Showers is a collaborative paper written by Lee Murray and me with the approval of the Graduate School and submitted in partial fulfillment of the requirements of both degrees. Chapter Four is different in each of the two papers which we have submitted to the Graduate School. Since this chapter contains the overall conclusion to the project we considered it best to present our individual impressions rather than to attempt a joint statement. The video tape produced in connection with this project is on file in the North Texas State Art Department slide library.

Every business has to keep records. Sometimes these records have to be presented in a standardized form, or more often they can be arranged in any way that suits the user. Business records are of little use unless they can be referred to quickly, to provide information when it is required. In computer systems it is essential to be able to recognize any particular record in a data file which is a collection of similar records kept on secondary computer storage devices.

The purpose of this project is 1) to create a Thai character set for text processing, 2) to write a text processing program for the character set, and 3) to allow users to create and save the text.

In this paper, five different sorting methods will be discussed. Each method will be analyzed and discussed in detail pointing out its efficiency, weaknesses, powerfullness, and the appropriate type of applications. The different methods are represented graphically using Turbo Pascal where one pass is performed in each method at a time. The methods discussed in this project are, Bubble Sort, Quick Sort, Heap Sort, Shell Sort, and Double Selection Sort. The latter is a new method that I modified from the Selection Sort. Finally, comparisons between the sorting methods mentioned above will be discussed.

This is a report concerning the project I completed for my 590 (special problem) credit. The subject of this project was a system for interactive practice room scheduling by music students at NTSU. This system was created in the fall semester of 1982 as a class project for software Development (CSCI 553) with Dr. Irby. The system was not completely finished, and I received permission from Dr. Irby to finish it and help implement its use at the Music department. I was able to observe three usages of the system: Spring, Summer I, and Summer II semesters of 1983. This report details the problems encountered during each of these usages, and changes made to the system due to them. Results of a first-use survey, under documentation, and complete final code listings were also included.

Among the early applications of computers, one can find frequent mention of intelligent instructional systems. Such intelligent instructional systems represent a new generation of learner-based computer aided instruction, preceded in time by the original frame-based systems and an intervening generation of expert-based CAI. The history of CAI is characterized by three generations: Frame-based CAI, Expert-based CAI and Learner-based CAI.

In this investigation I use the term perception as Arthur Comb and Donald Snygg do when they state that perception is any differentiation the individual is capable of making in his personal field. Perception has to do with the organization one gives to his world. Behavior and learning are products of perceiving. Immanuel Kant said: "We see things not as they are but as we are." During this effort to organize my world I realized that I was concerned with myself as an experiencing individual. I felt that one is built out of his experiences and that the best vantage point for understanding behavior is from the internal frame of reference of the individual himself. I was taking a somewhat phenomenological approach to my problem.

As my creative project, I decided to explore the possibilities for expression of rhythmic life-growth patterns in a variety of abstracted multiple forms. The work was planned to investigate the following questions: 1. What forms can be used to communicate the idea of repetitive, rhythmic or seasonal life or growth patterns? 2. What size/scale is effective in communicating the universal, infinite character of these patterns? 3. What formats or types of presentation are the most effective? 4. How is the overall impact of the work affected by changes in size and form? 5. How do changes in the work affect my responses to it, and what subsequent directions result in the work?

My work dealt with the life within inanimate objects and what occurred when one placed apparently unrelated objects together in an arrangement. The arrangements had three interrelated elements: the objects, spacial relationships, and materials.

The problem being dealt with concerns the investigation of the conceptual and expressive potential of mold-formed units in combination with other media and processes. The questions under consideration are as follows: 1. Do the concepts of pieces vary with the materials and process being used? How? 2. What alterations occur in the visual image as a result of the change in media and processes? 3. What mechanical and technical problems are involved in the mold-formed process?

As much as I like the effects of low-fire salting, I hesitate to use salt. The hydrochloric acid released into the environment during the salting process creates a dense fog that is not only toxic, but visually offensive as well. Therefore, the purpose of this study was to find a source of sodium that would achieve aesthetic results as equally exciting as the effects of salt.

My concerns relate to the process of imagery development and the process of utilizing suitable materials to execute my work. These concerns are dictated by the themes in a particular piece and revolve around an acute sense of loss. These themes are frequently presented with humor.

Two ways of apprehending reality were intimated; reality as a function of purely visual stimuli and reality as a substantial object. The problem was, therefore, an exploration of reality as a purely visual sense and reality as concrete form. In pursuing the project, I explored how each reality distinguished itself by separating each in the prior conception of the work and in the subsequent discussion.

In the history of ceramics my interest centers around times in particular cultures when ceramic containers were an essential part of life. I am most interested in functional pottery produced in nineteenth century North America between the years 1800-1870. This was a period in which some of the finest pots used for containing things were produced.

The problem of this investigation was to determine if there was a relationship between scale, forma and technique in the making of welded steel sculpture, and to determine the best method(s) of working on three size categories and in two basic categories of form. The size categories were two to four feet, four to eight feet and over eight feet in any dimension with the other dimensions such that the sculpture enclosed a volume of space. The two categories of form were geometric or inorganic (forms based on geometry or mathematics) and organic (forms found in, or resembling those in nature). The effects of scale, form, and technique(s) in the production of these sculptures were observed and a determination was made concerning which technique presented the most advantageous approach to the creation of welded steel sculpture in each category.

The unique nature of this process raised major technical questions that I intended to address during this project. The purpose was to obtain a quality surface, considering both visual and textural considerations, while using the copper matt finish.

I have designed and built a brickless ceramic studio kiln which is modular in design and consists of ceramic fiber insulation and a protective aluminum exterior skin. I wanted a kiln that employed current technology and would be suited to my needs as a ceramic artist. It is my hope that this research will encourage people to consider the possibilities available when constructing new kilns and to be willing to experiment in order to find new solutions to the problems that continually confront us.

I constructed ceramic/mixed media instruments, recorded rhythmic music composed for and played on my instruments, and prepared a slide presentation portraying my daily rituals a studio artist. I describe in this paper the process involved in creating this environment and give an interpretation of the work by answering the following questions. 1. What were the rituals that were essential to the creation of my work? 2. In what ways did the use of the different visual and audio media work together to create a unified environment? 3. In what ways was the total experience of the different media a more direct and fulfilling expression of my goals as an artist, or are these goals better fulfilled when working in one media?

The purposes of this Problem in Lieu of Thesis are: 1. To explore the use of stretched fabric over constructed wire armatures to create sculptural forms that suggest the potential for flight; and 2. To evaluate the artistic merits of such forms as they relate to an interior architectural environment.

It was my intent that the formats work harmoniously with the printed matter, conceptually, aesthetically, and functionally. Specific concerns addressed were 1. How did the format contribute to a clearer understanding of the print concept? 2. How did the functional design and construction of the formats contribute to or detract from the successful unification of print and format? 3. How did the aesthetic design and construction of the formats contribute to or detract from the successful unification of print and format? Five formats were constructed, several consisting of multiple parts. A comparative photographic record of each print, as originally conceived and subsequently displayed within these formats, will be presented for evaluation.

The intent of this study was to construct a group of forty wheel-thrown vessels, comprised of four forms, in series of ten. The surface of these pots was to be enriched through the use of various materials and techniques. These included slip trailing, brushed slip, glaze and over glaze colorants. The decorative theme I pursued was based on abstract floral images. I admire both the ordered structure of plant forms and the slightly imperfect symmetry contained within their various parts. I have attempted to express their gestural quality and delicate nature in my surface decoration.