The article describes the subgroups and demographic characteristics related to NA household food environments. Surveys collected food getting, food assistance, and sociodemographic variables from randomly selected adults from three NA communities (n = 300) in the Midwest and Southwest. Findings demonstrate that NA household food environments can be described by developing subgroups based on patterns of market and traditional food getting, and food assistance utilization. Understanding NA household food environments could identify tailored individual and community-level approaches to promoting healthy eating for NA Nations.

This article presents the design, modeling, and experimental characterization of flexible square-shaped spiral coils with different scaling factors for WPT systems. The effects of coil scaling factor on inductance, capacitance, resistance, and the quality factor (Q-factor) are modeled, simulated, and experimentally validated for the case of flexible planar coils. This article also presents the effect of skin contact with the flexible coil in terms of the power transfer efficiency (PTE) to validate the suitability as a wearable sensor.

This poster highlights a project undertaken at the University of Houston by the Gerald D. Hines College of Architecture and Design to select and transition records into the University's archives. The relationship between colleges or department and the University archives is examined, and the workflows necessary to ensure consistency through the transfer. The poster was created as part of coursework for INFO 5375 Archival Appraisal in Spring 2020 at the University of North Texas.

Work of art in laser cut cardboard, CNC routed wood, vinyl by artist Morgan Grasham as part of her 2020 exhibition, entitled "Memory Beast".Image of installation view of 2020 MFA exhibition by artist , entitled "Memory Beast".

Memory Beast was a series of experiments in multispecies collaborative storytelling. A new tool was created, a memory beast, a holotype representing our ideas of specific species, based on memories and drawings collected in participatory research. The fabricated memory beasts, placed next to their biological counterparts, made visible the conflation of living species with personal memory and cultural imagery. Using this new tool, implanted with sonic recordings of cows, the beginnings of an interspecies pidgin language was developed. Memory Beast imagined and enacted new pathways to finite flourishing on a wounded earth, planting story seeds for alternative realities.

Through painting, I use materiality to describe the material world. By rooting my practice in visual culture and art history, I seek to extend the meaning of images beyond their initial form. The coalescing of opposing and complimentary formal elements accentuate the visual and contextual friction. This allows the work to exist in an ambiguous state. Seen together, my works appear disparate, but they suggest alternative meanings through association with one another. The works can exist on their own, but engage in dialogue when juxtaposed against each other. Although about specific occurrences, the works afford the viewer their own interpretations.

Work of art in pastel by artist Kelsey Shurbet as part of a 2020 MFA Exhibition, entitled "Counting Seconds".

Work of art in mixed media by artist Kelsey Shurbet as part of a 2020 MFA Exhibition, entitled "Counting Seconds".

Each of my oil or pastel paintings is an observation of seemingly mundane familiar places that I encounter day-to-day. I think of my art as a kind of visual journalism, where I examine common human emotions evoked by a careful consideration of the substance of light interacting with spaces or objects. The naturalistically rendered compositions are cropped and depicted in small fragments, allowing the viewer a brief glimpse into a quiet portrayal of the world. Essentially, my art allows me to share my sensibilities and to connect with others through portraits of ordinary, yet intimate, moments in time.

This article reports the design, fabrication, and characterization of an all inkjet-printed field-effect transistor (FET).

This article reports on a study where 2D TMDs (MoS₂ and WS₂) and the 3D allotrope of carbon and graphite were incorporated into acrylonitrile butadiene styrene (ABS) and polyethylene terephthalate glycol (PETG) matrices in order to form polymer matrix composites (PMCs). The multipronged analysis described in this study was motivated by the purpose to fuse together topics of low-cost, additive manufacturing with 2D layered materials, and studying their ensuing mechanical and tribological properties.

Article reporting on the inkjet printed, direct contact study of solution-processed, 2D perovskite-based photodetectors (PDs) formed on flexible PI substrates. Silver (Ag) and graphene (Gr) inks have been engineered to serve as efficient electrical contacts for solution-processed two-dimensional (2D) organo-halide (CH3(CH2)3NH3)2(CH3NH3)n−1PbnI3n+1 (n = 4) layered perovskites, where all inkjet-printed heterostructure PDs were fabricated on polyimide (PI) substrates.

This article presents dispersions of WS₂ and h-BN using cyclohexanone and terpineol as the solvent to subsequently print prototype capacitive nanodevices.

Article exploring phonon dynamics in mechanically exfoliated two-dimensional WSe₂ using temperature-dependent and laser-power-dependent Raman and photoluminescence (PL) spectroscopy. The work reported sheds fundamental insights into the evolution of phonon dynamics in WSe₂ and should help pave the way for designing high-performance electronic, optoelectronic and thermoelectric devices in the future.

This article describes the synthesis of indium tin oxide (ITO) thin films using solgel processing with a mixture of InCl₃, methanol, and SnCl₂, where the solutions were spin coated onto glass substrates. The combined architecture of black phosphorus on ITO thin films shows promise in its use for transparent electronics, which can also serve as a stepping stone for future solar cell platforms.

Work of art of oil on canvas by artist Hannah Aaron as part of a 2020 MFA Exhibition, entitled "A Narrative Rewritten"

In A Narrative Rewritten, I explore two distinct periods of my past. One group of work deals with the emotional effects of trauma I experienced as a child during years of practicing ballet. The other celebrates a pivotal moment of spiritual awakening that gave me the strength to confront internal falsehoods I previously developed. I paint from observation, to engage with my subject and to ground myself in the present moment. In my oil paintings, I paint representationally, while delving in to the spectrum of abstraction. I use imagery symbolically from ballet and boxing to represent a shift from inadequacy to empowerment.

Juan Barroso's artwork depicts Mexican labor and the immigrant experience at the border. With the current political administration enforcing policies that dehumanize and force immigrants into the shadows, recognizing an immigrant’s humanity is vital. As the son of immigrant parents, he pays homage to his people and the dignity of their labor. He mixes 2- dimensional imagery, influenced by personal narratives, with 3-dimensional functional forms. Using a small watercolor brush, he paints his images with thousands of dots in a timeconsuming and labor-intensive process that becomes an act of devotion.

Work of art of Blue ink on found paper by artist Jordan Black as part of a 2020 MFA Exhibition, entitled "Heeding the Underbelly"

Black’s work presents The Ubiquitous, an entity that propagates into subhuman beings that ravage the deserts in search of sacrificial circles or homing beacons. Their physical nature is heavily influenced by: Languid, liquid human body language; the otherworldly visage and tenacity of plant life; the heaving monstrosity of mountains and rock formations; and the joyous allegory of movie monsters, puppets, and pulp fantasy. The Ubiquitous is explored in Black’s whimsical writings and intensive drawings which are characterized by her mark’s immediacy; and her work seeks to understand this Being’s purpose, function, and correlation to her own life..

I have impulses to make things, sometimes the idea happens prior to its construction, sometimes it happens after. I doubt the presumption of art's ability to save or better people, which creates for me, a conflicted relationship with art-making. I think in most cases, the best it can do is attract people's interest for a moment or so, to the extent that they feel compelled to see it again. Upon those sentiments I make things that provoke a thought or pleasure in myself that I hope other people can relate to. That seems to me to be the bitch of subjective activities. You do what you feel but are never quite sure how it's felt.

Work of art of exhibition: monotype, screenprint by artist Aunna Escobedo, as part of a 2020 MFA Exhibition, entitled "Navigating the Waters". L to R: A Swiftness, Accumulating: slow and steady, Shifting: between states.

Belief is our acceptance of an optimal truth. We embed a belief into the things in our life that give us comfort or strength. Whether they are recognizable in popular culture or are our own private object, their value shifts to what we need them to be. My current work is inspired by multi-cultural historic luck or from my own practice of object collection. They are physical objects that are representative of ritual or ones that “bring” luck. The objects are primarily wearable jewelry, although I have included the pocket as a location of wearability. Regardless of how or where they are worn, they are meant to be valued by the wearer in some capacity.

This work is a developing portrait of women workers who are involved in labor rights advocacy within the context of the maquiladora (assemblage factory) industry in Mexico. I have traveled to do research in Mexico by making photographs and through collecting recorded testimonies from the women workers I come to meet through an organization called the Comité Fronterizo de Obreras. The resulting artwork I make includes photographs, handmade books, video, sculpture and works on paper. Ultimately, my translation of the empowerment and stories of these women workers into works of art are at the center of my practice.