a. How does the use of different materials such as string, screen, fabric or wire personalize the work? b. How does the addition of subtly recognizable imagery change the reductive field? c. How do processes such as wrapping, printing, dripping, and other techniques infer meaning? d. How does the choice of color and scale affect the work?

The interaction of the construction and the images was the focus of my proposed exploration. Previously, I viewed the images as the vehicle for content with little thought to the construction. I thought of the construction as a painter might think of his or her canvas, a place for the images to reside. The relationship between constructions as part of my content is essential. Exploration of form and image will push the limits of how the images and constructions may interact. Now that I was conscious of the construction being included in the content, I wanted to discover how the ideation process would change. I was also hoping to determine how the imagery would be affected by the redirection of my decision making process concerning the construction as part of the content.

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.

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.

This Problem in Lieu of Thesis documents the thought processes that led to the completion of a series of five interactive sculptures. Each piece incorporates a part of the human body taken from its normal context and placed into the context of children's playground equipment.

The Mercado de Fort Worth is a commercial area located between downtown Fort Worth and the "stockyards" entertainment district in a Hispanic neighborhood. Many of the buildings are vacant and in need of renovation. To promote area development, the City of Fort Worth has encouraged property owners to create a market area of Mexican-theme restaurants and shops. Property owners have expressed concern about potential returns on renovation investments. This study provides property owners with information regarding several similar projects across the country. The report finds that basic economic and site location principles are the main determinants of project success. The report also reviews local business training and assistance resources. Finally, the report provides information regarding "historic" building designations and associated tax incentives available to property owners

The metamorphosis and transformation of forms as metaphors continued to be the focus of my work. The use of modular forms with lightweight materials increased mass and volume in my work. The reconstructing and reassembling of sculptures formed with modules was an excellent vehicle for the content of metamorphosis and transformation. The focus of this problem was to create a series of multi-media art pieces that were each composed of a number of modules.

This interactive multimedia content is part of a Master's thesis regarding how traditional methods of teaching the laboratory course for Comparative Anatomy of the Vertebrates could be improved by applying current computer technology to construct an interactive, multimedial atlas of dissection. Five specimens used in comparative anatomy courses at most institutions were chosen as representative members of the Phylum Chordata: amphioxus, lamprey, dogfish shark, mud puppy, and cat. Specimens were dissected according to the modified method of Wischnitzer, 1993, and each stage was photographed with a Kodak DC120 digital zoom camera. These images were processed on a Power Macintosh 7600 computer with Adobe Photoshop v. 5.0. The atlas was constructed from these images using Macromedia Authorware v. 4.0.3. Each image contains a series of interactive objects that display a highlight and descriptive text as the cursor passes over each object.

My interest in the patterns of nature and culture has led me on a long journey through studies of math, sciences, and religions culminating in my current studies in art. Continuing my inquiry into processes of human perception and conception of time. My intention was to incorporate the "process" aspect of the printmaking medium into the final work by creating hybrid works that would take the "print" out of its traditional two-dimensional form. Finally, I planned to utilize the "multiple" aspect of printmaking to address ideas of patterns and evolution.

We examined CVD grown polycrystalline diamond films having different methane concentrations to detect defects and study the possible correlation between the methane concentration used during the growth process and the defect density. SEM and Raman results show that the amorphous and sp2 carbon content of the films increases with methane concentration. Furthermore, photoelectric emission from diamond is confirmed to be a two-photon process, hence the electrons are emitted from normally unoccupied states. We found that the photoelectric yield, for our samples, decreases with the increase in methane concentration. This trend can be accounted for in two different ways: either the types of defects observed in this experiment decrease in density as the methane concentration increases; or, the defect density stays the same or increases, but the increase in methane concentration leads to an increase in the electron affinity, which reduces the overall photoelectric yield.

We have explored the use of recently developed high speed integrated electro optic modulators and DBR diode lasers as a tool for precision laser studies of atoms. In particular, we have developed a technique using a high speed modulator as a key element and applied it to the study of the fine structure of the 23P state of atomic helium. This state has been of long standing interest in atomic physics and its study has been the aim of several recent experiments using various precision techniques. We present our method and results, which will describe a new method for determining the fine structure constant, and lead to a precision test of atomic theory.

My premise was the marriage of two forms, book and sculpture. My goal was to determine if these two unique types of work could be joined as one. In each oth the proposed works, I focused on an element of design as well as the challenges present when works are produced for a particular space (the Cora Stafford Gallery).

I have suggested that the ornamental element employed in my painting functions as historical, cultural and social text, and also as a carrier of ideas and ideals about beauty and art which have been invalidated by the Modernist view. I will explore how the elements of painting: material, paint application, palette, figure/ground relationship, scale and other formal and technical factors, combine and interact to transform, contradict, subvert or negate the ornamental element in the painting; and how in turn these combinations effect the way the paintings function both formally and in terms of content.

I intend to explore various canvas sizes and many formal issues, focusing on space and the application of paint are paramount in my work. I used closely cropped photographs to aid in this study and my exploration addressed the following questions: 1) How does the speed of execution affect the spontaneity and authority of the piece? 2) How important is the unexpected for the success of my painting in regards to formal issues?