Memorandum providing updates to rulebook related to public utilities with revised pages containing amendments and instructions for inserting the new pages into existing books.

This paper is a part of the presentation, "Automating the Authority Control Process," for the Innovative Users Group Conference in 2020. The presentation introduces ideas on how to handle authority control using a variety of tools, both paid and free. The paper details the specific procedures described in the presentation.

Minutes from the Texas Society, Sons of the American Revolution, Arlington chapter virtual meeting on May 9, 2020.

Photography, as a way of recording, is often high-definition and highly descriptive. Therefore, photography has a close relationship with visual perception. In my soft and abstract photographic images, the particularity of time and place is deliberately diluted, and the traditional objects in the photographic images are eliminated to challenge the viewer to locate themselves in relation to the photographs. The ambiguity of the photograph stimulates the viewer's self-consciousness to the greatest extent, while also spurring profound examination of the particular ways one expects photographs to affect them.

Since my youth in Ukraine, I have been inspired by the first cosmonaut, Yuri Gagarin, who went to outer space in April 1961. Since then I have been imagining the fragments of an unknown space that is divided into a variety of different felt locations. I am interested in envisioning fractured terrains, where the intrusion of sharp elements interact with a soft transparent and atmospheric space. I want to create a sense of discord as a metaphorical reflection on the absurd, political situation in Ukraine where I am originally from. For me, navigating or transitioning from one imaginary space to another through the act of making painting feels equivalent to experiencing a new place for the first time.

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..

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.

My current work investigates visual meditations on water and its connection to the human experience. Through observation and reflection, my process allows me to make associative connections with water’s powerful metaphorical qualities. Water’s multiplicity of meaning is vast. It is a complex force of nature that begs to be explored through various modes of thinking. Mindfulness combined with the act of discovery and adaptation allows my imagery to evolve organically. Working between drawing and printmaking, I create variable series of artworks, that oscillates between mimicry and abstraction as a contemplation of our human relationship and natural forces.

As we travel through life, we lose pieces of ourselves. It’s inevitable. Yet we are more than the sum of our parts. These pieces can be cast aside, lost to the wind or imply left behind. They can also be stitched back together, forming a patchwork quilt of sorts. The world is constantly changing, and now more than ever we live in a time of uncertainty. So, I feel the need to stitch together my reality. I am a Maker, and I choose to make a reflection of the world I want to inhabit; a world of my own making.

I am an interdisciplinary artist whose work bridges mental health, body dysmorphia, and the visual arts together through sculptures, paintings, performances, and large installations. I work with traditional and nontraditional materials through a manual and digital process to physically represent my realities of living with body dysmorphic disorder. I use padding, paper, and other fibrous objects as metaphors for the flesh and manipulate these materials in numerous ways to create exaggerations of the body.

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.

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.

My background in fashion relied on the use of sewing machines as tools to create garments made of new materials. My current artmaking has evolved away from the body and functionality to become relief sculptures in cloth. This work is the embodiment of moments in time and space that have stopped me mid-stride, compelling me to closely examine the details. As a fine artist, I translate these observations of nature into my art by using a needle and thread to hand stitch on reclaimed cloth. I invite the viewers to pause, wonder, and think about their place in the world.

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.

Minutes for the May 21, 2020 TXSSAR virtual meeting, held by the McKinney chapter. Photographs have been included in the document.