This paper analyzes Francis Poulenc's Concerto for Piano and Orchestra written in 1949. Deborah Lee Erftenbeck explores his eclectic style and the manner of its development, determining the originality of its nature and his works.

The problem of this study will be to provide information on the degree of influence exerted by the choice of ground in the selection of collage elements and the final development of each collage.

Throughout history consumer products were generally manufactured from wood and metal. They either had to hold their natural color or become subject to painting. When plastics entered the industry, it was recognized for its ease of shaping, re-usability, physical properties and its low cost. One of plastics' greatest benefits is its ability to hold a given color from within allowing it to avoid use of paint. This paper will give a brief overview on the effects of pigments when incorporated in a polyolefin. It will provide a classification of the main types of pigments and how each effect the properties of the product through: crystallization, weatherability, opacity, coloristic values and of course viscosity.

This paper explores the influence of French surrealism in the composition of La Courte Paille by Francis Poulenc. Martha Ann Pampell discusses the history of the surrealist movement, Poulenc's style, and provides an analysis of the piece.

Stress responses and coping strategies were assessed for 155 fire fighters who worked during and immediately following Hurricane Andrew in Dade County, Florida in 1992. The participants were surveyed approximately two months after the hurricane, and again one year following the hurricane. The purpose of this study was to evaluate the relationship between the amount of emotional social support received and the amount of symptomatology the participants experienced. This study also introduced empathy as a form of perceived emotional social support and examined the relationship between the empathy felt by the participants and the symptomatology they experienced. For this study, empathy was defined as a participant's ratings of feeling that others truly understand what he or she has been through and is feeling. While other forms of received motional social support were related to an increase in symptomatology, more empathy was related to less symptomatology, in some cases significantly.

For a workplace to be successful, it needs to have a higher morale, thus leading to higher quality of care for residents. For a workplace to be successful in empowerment, it must have developed strong teams, and everyone must work as a team and respect one another. The research for this paper focused on many issues. The most important part of my research came from a study of the nursing assistants at Jennings Hall (JH) in Garfield, Ohio. From the data received, I concluded that the two biggest problems in many nursing homes are lack of respect and lack of team-centered attitude.

My proposal involved gathering and analyzing both visual and written information. The following steps were specifically considered: 1. Exhibition catalogues and related information on Robert Rauschenberg and Zao Wou-Ki were reviewed. Those artists deal with cross-cultural ideas in their work. 2. A sketchbook and an artistic journal were kept, as well as a record of my creative processes. 3. A body of work was done in a consistent matter. I employed a spontaneous/intuitive strategy in my creative activity. I kept myself flexible in order to approach the idea in a loose manner by simultaneously making several paintings with the same content.

This paper is presented in satisfaction of the requirement for two problems in lieu of thesis which are required for the degree, Master of Science. The two problems are: (1) to provide an electric interface between the M6800 microprocessor and the printer; and (2) to design an Arabic character set and to provide the logic required for its implementation. As it would be artificial and impractical to document these problems separately, a single document here is provided.

The use of copper in my work has opened up an entirely new conceptual and esthetic world. I have expanded my vocabulary of visual imagery based on the nature of how copper reacts with fire. The organic beauty harmonizes so gracefully with the manufactured material. This new material has certainly opened up a refreshing platform on which to further develop my ideas.

It has been noticed in the past five years that the Internet use has been troubled by the lack of sufficient security and a legal framework to enable electronic commerce to flourish. Despite these shortcomings, governments, businesses and individuals are using the Internet more often as an inexpensive and ubiquitous means to disseminate and obtain information, goods and services. The Internet is insecure -- potentially millions of people have access, and "hackers" can intercept anything traveling over the wire. There is no way to make it a secure environment; it is, after all, a public network, hence the availability and affordability. In order for it to serve our purposes as a vehicle for legally binding transactions, efforts must be directed at securing the message itself, as opposed to the transport mechanism. Digital signatures have been evolved in the recent years as the best tool for ensuring the authenticity and integrity of critical information in the so called "paperless office". A model using XML digital signatures is developed and the level of security provided by this model in the real world scenario is outlined.

My creative intent is to connect with viewers at an emotional level. My chosen metaphor is “Peeling the Onion.” The implication of the metaphor is that understanding is achieved after one looks below the surface and views the underlying “layers.” The challenge is to find images that are personally interesting and also connect with the viewer. At times the creative process proceeds in linear manner and at other times it seems to take on a life of its own. During my search for a balance between the literal and ambiguous, I explored the circle, the spiral and the sphere. Printmaking offers unique opportunities to produce evocative imagery. Drawing is the basic tool I employ to define form and my use of printmaking processes allows for evolving the image over time. The immediacy and spontaneity of my drawings is combined with a methodical approach to image development. Exploring the spiral, sphere, circles and the metaphor “Peeling the Onion” has provided me a means of giving a form to my concepts and hopefully a connection with the viewer.

Modernist painters such as Picasso, Ernst and Matisse were among others who incorporated what was then considered "primitive" art, mostly from Africa and Oceania, into their works. Prior to this, European artists had appropriated Greco-Roman themes and characters. These appropriated elements were consequently recreated without their cultural context and content, altered to reflect more current themes. In most cases, attention was directed toward the recreator, the author of the new work of art, not the creator of the artifact. In contrast, Post-Modern artists, including myself, have reproduced appropriated elements virtually unaltered as a way of denying authorship and emphasizing a more conceptual format. Appropriated imagery has been a tool for me in my work. Additionally, both figurative and abstract elements play significant roles since I consider juxtaposition of elements to be a strength. The challenge of fitting these elements together has enabled me to develop a style of painting that seems uniquely mine. The formal issues of style and content figure heavily in my endeavor to capture a moment in time; something lost forever except for its persistence in memory. These reflections are often imbued with personal icons, arcane text and symbolic drawing that weave in and out of the …

The ancient artist's influences can still be felt in today's craftsmen. For example, the contemporary weaver Sheila Hick's prayer rugs are an assimulation of the textile techniques of ancient Peru, Persia, and India, and the macramed forms of the contemporary Spanish artist, Aurelis Munoz, are suggestive of the woven huts of many primitive cultures. Because of this influence upon the current investigation, the evolvement of weaving and its techniques, as well as the three-dimensional techniques of basketry, in different parts of the world and in different historical periods are reviewed briefly.

This paper provides findings on the history of music for flute and guitar in combination. Karen Futterer explores the background of this combination in the seventeenth century and follows its development into the modern day, including prominent forms, composers, and musical trends.

In order to arrive at a more consistent and clear personal understanding of the nature of art, I examined the ideas about art and aesthetics which were reflected in my works of the past several months. Some of the specific questions i asked in my investigation of the works were: 1. What are my thoughts on the role of content and form in my visual art? 2. What are my thoughts on the role of the viewer in visual art? 3. What are my thoughts on the role of permanence in visual art? 4. What are my thoughts on the role of appropriated imagery in visual art? 5. What are my thoughts on the role of expression in visual art?

The problem of this investigation is to determine if the shrinkage resulting from water loss, which causes cracking in polymer-acrylic emulsion artists' paints, can be controlled to produce a predictable variety of surface textures useful in painting. Preliminary information on the behavior of polymer-emulsion paints was taken from published material such as Mayer's Artist's Handbook of Materials and Techniques, Woody's Polymer Painting, and various manufacturers' technical publications. Experimental investigations were conducted to observe the media under varied methods of application and conditions of drying. The information gathered in the experiments was used to develop techniques producing a variety of predictable textural alterations, which were used in a series of experimental paintings.

Dualities of all kinds exist in the world today. Being a visual artist and sculptor I recognize these dualities every day of my life in the natural and man-made forms I see. These forms can be broken down into two categories: the geometric and the organic. The purpose of this problem in lieu of thesis was to explore how organic and geometric form could be combined to create a unified sculpture in stone and how the finished sculpture affected me as a viewer. The figure was the main organic form represented and addressed in this problem.

The images that I sculpt deal with reflections of human traits. Wood lends itself to this endeavor, offering minimal resistance to manipulation. Keeping the origin and qualities of the material while manipulating it into another object is a statement within itself. Letting the wood do what it does naturally keeps the viewer in touch with the fact it is still just an object of nature. Wood does not make itself any less real because of the relationship of the sculpture to it as wood.

After generating work for many years in an intuitive, “truth to materials” mindset my intent was to explore the interior possibilities of my sculptural forms and relate these if possible, to the exterior. Alongside this exploration of the interior I introduced surface texture and color onto both interior/exterior surfaces. In some cases the work had undergone a change, which lent new meaning and provided new relationships to exist between the interior/exterior of my sculpture. Not all of the work was satisfactory to me, though I feel there were many positive results from work that may not have been successful. I found that the integration of the interior/exterior dialogue into my existing work provided new meaning allowing new relationships within the work that had not existed previously.

Report for the project, Exploratory User Research for CoRSAL, which was an exploratory ethnographic study to generate a foundational understanding of how different user groups might use a planned language archive for South Asian languages. Their research project was to be used by the CoRSAL team to help plan the design of CoRSAL’s infrastructure, and laid the groundwork for further studies that will take a deeper look at issues surrounding the design and use of the planned language archive.

A continuing goal of my work has been the desire to evoke strong emotive responses in relation to imagery. The content of this body of work deals with suicide, utilizing text with imagery. The content of this body of work deals with suicide, utilizing text with imagery. I have explored in this body of work the aspects of suicide and how it relates to the individual as well as the family.

The purpose of this project was to create and present groups of stelae which contain personal imagery derived from archetypal feminine symbols used as hieroglyphs. The groupings of the stelae, by nature of the problem, took on a ritual appearance. Two groups of twelve stelae each were constructed with materials and techniques used in a fiber tradition. Each individual stele was designed to function alone as well as in a group.

This creative problem project aimed to develop a series of vase forms expressive of clay and its plasticity as developed through the throwing process.

The purpose of this project is to provide a record, much like the ones left to us by Michelangelo and Leonardo da Vinci, of the personal influences which motivated the present artist to function productively as a sculptor for a period of one semester: from September 1, 1975 through December 12, 1975. The methods involved in charting such artistic transpirations consisted of two types: a written diary, daily recorded, which indicated the progress, regression, frustration, inspiration, and perceptions which were experienced by the artist during the three-month period; and a series of personal, emotional self-enquiries.