The primary objective of this creative project was to create an environmental performance through the use of light as the principal medium. Most of the photographic imagery had been completed. The remaining task involved creating an effective and workable system to integrate the projected imagery with the neon light placements. Each system, illustrated in the figures, attempted to create a different approach in using the light mediums.

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.

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

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

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

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.

Through this study I intended to analyze and determine the significance of the recurring imagery that emerged as an integral part of my compositions. Furthermore, I attempted to discern the importance and over all the effects of the small scale upon my work and determine how vital is the spontaneity that is used to obtain each composition.

Elder abuse first received national attention in 1980, as the subject of a congressional investigation. Now, 20 years later, establishing successful strategies of identification, subsequent intervention, and prevention of abuse is of paramount importance; but progress toward this goal is hindered by lack of consensus as to the definition of elder abuse, and the use of vague, confusing, and sometimes contradictory terms in its discussion. In this paper, both social research and professional approaches and legal approaches to the definition of elder abuse are surveyed, as are definitions formulated for the National Elder Abuse Incidence Study conducted by the National Center on Elder Abuse. The continuing need for a universal or standard definition is emphasized.

My artistic practice centers around personal history, connection, and identity. I reflect on my experience as a Nigerian who has lived on three continents thus far, and how those experiences have led to the deconstruction, reassembly, and hybridization of my identity. My work pays homage to my tribe of origin, Yoruba, whilst redefining and exploring the hybridity that exists as a result of cross-cultural influences that are prominent in our world today. I incorporate varying objects and materials such as jewelry, sculpture, wood, metal, and fiber. This integration speaks to the multicultural existence of the world I live in the interrelationship between Nigeria and the West.

Asepo is a simulated domestic space that speaks to being a product of the hybridization of cultures, the sense of displacement and the need for belonging that comes with being a hybrid of sorts. The exhibition includes four sectors. The first is a bed with a floating headboard accompanied by projected imagery and sound. A performance takes place upon the bed. The second is a table with three accompanying wall-mounted pieces that connect to the table through symbolism. The third is a sculptural wooden diptych and the final sector is comprised of accessories.

This problem is involved with attempting to answer two basic questions: (a) Can I, a commercial artist, expand and develop as an artist through screen printing and make valid aesthetic statements unrelated to client and/or product? and (b) Can knowledge of reproduction methods and photo-mechanical techniques be successfully utilized in screen printing for non-commercial purposes? Extensive notes in the form of a journal were maintained as work on the project progressed. These notes, combined with the completed prints, were the sources of data for this paper.

My thesis, Question of Honor, addresses the premise of women's lack of choice in relation to men's honor, and vengeance; concepts that are closely connected to the oppressive world of women in Pakistan. These works deal with concepts of purity and minor transgressions that have an impact on the lives of women in relation to family names and the associative feelings of humiliation linked to men. The subtle nuances of women and their reactions to oppression give a strong emotive content to the work.

The problem for the project emerged threefold: (1) to further explore the uses of the graphite medium including the possible integration of wet media color on large surfaces, (2) to use the human figure as subject matter, and (3) to explore gessoed drawing surfaces of masonite and paper.

The FrameNet database is being used in a variety of NLP research and applications such as word sense disambiguation, machine translation, information extraction and question answering. The database is currently available in XML format. The XML database though a wholesome way of distributing data in its entireness, is not practical for use unless converted to a more application friendly database. In light of this we have successfully converted the XML database to a relational MySQL™ database. This conversion reduced the amount of data storage amount to less than half. Most importantly the new database enables us to perform fast complex querying and facilitates use by applications and research. We show the steps taken to ensure relational integrity of the data during the refactoring process and a simple demo application demonstrating ease of use.

This paper traces the genealogy of the Hotteterre and the Chédeville families through a translation of three works by Jules Carlez, Ernest Thoinan, Nicolas Mauger. Carol Padgham Albrecht annotates these translations with biographical information and highlights the contributions of the instrument makers.

Chapter I describes the purpose of the project, which was to develop a body of work that exhibits my current thought process. The questions presented to myself consisted of the following: 1. How effective was the expression of my ideas socially and politically after the change to the work? 2. Was the minimal approach a tool that contributes or detracts from this effectiveness? 3. Did an increase in scale successfully act as an element of confrontation? Chapter II describes the inspiration behind the making of my work it also discusses problems encountered with an understanding of the viewer concerning imagery. Chapter III summarizes the methodology behind the execution of the new body of work. It also discusses how simplification of imagery works as a solution to my problems.

The questions answered by this investigation are as follows: 1. Which silkscreens and stencils will work in screening flat and three-dimensional objects? 2. Which mediums and coloring agents will survive a glaze firing to produce an acceptable image? 3. How can the image be modified by screening during the different stages of a ceramic piece (wet, green, bisque, glazed)? 4. What glazes and glaze applications will be compatible? 5. Generally, what is the relationship between the image and the object?

The goal of the work was to infect traditional ideas of beauty and authority with late Twentieth-Century culture and to thereby create an artifact that would reflect the multiplicity of our culture. My work, to date, has dealt with single works of a consistent media combining two and three-dimensional elements. I proposed to add to the complexity of my stated goal through a more varied use of medium; audio, photography, lighting, paint on canvas, reprocessed found objects as well as materials with which I presently work. Some of the work would extend off the wall or ceiling or floor into what might be called the "viewer's space." The end result would be a group of works which created a narrative and would culminate into a single work to be installed in a space as yet undetermined. Site possibilities I considered were my studio, the university gallery, and the critique room in Oak Street Hall.

There were no restrictions as to style or technique, and since my previous works had been realistic, this direction was to be continued during the entire investigation. The primary objective was to create a series of drawings and paintings which would concentrate on the basic facial topography and idiosyncrasies of a constant model with variations in color, scale, medium, and expression.

This paper discusses five works the author created and the thought process that went into the creation of these works. Helen Altman discusses the fascination with temporary or process pieces and the use of commonplace materials to depict a message.

Brief Artist Statement by Russell Anderson as part of a 2021 MFA Exhibition, entitled "Modified Aesthetics on an Inner Space” in the Cora Stafford Gallery on the campus of the University of North Texas on March 29-April 9, 2021.

In the visual arts, I was interested in creating patterns with clay, glass, and metal, utilizing the visual elements (line, color, shape and texture). I arranged, rearranged, and distorted the elements until I obtained a fragmented, yet, unified pattern. My visual ideas were rhythmical (gestural) in nature with or without the direct stimulus of music. Concepts originated in my mind with symbols and sounds simultaneously.

Content-based image retrieval (CBIR) is the retrieval of images from a collection by means of internal feature measures of the information content of the images. In CBIR systems, text media is usually used only to retrieve exemplar images for further searching by image feature content. This research work describes a new method for integrating multimedia text and image content features to increase the retrieval performance of the system. I am exploring the content-based features of an image extracted from a video to build a storyboard for search retrieval of images. Metadata encoded multimedia features include extracting primitive features like color, shape and text from an image. Histograms are built for all the features extracted and stored in a database. Images are searched based on comparing these histogram values of the extracted image with the stored values. These histogram values are used for extraction of keyframes from a collection of images parsed from a video file. Individual shots of images are extracted from a video clip and run through processes that extract the features and build the histogram values. A keyframe extraction algorithm is run to get the keyframes from the collection of images to build a storyboard of images. In …

Federal and state regulations require that licensed long-term care facilities have policies for every resident-related topic. Long-term care administrators must plan, implement, and evaluate resident care policies that can be easily personalized to the needs of the specific facility's population. Part 1 of this paper is an overview of resident policies, covering admission, physician services, transfers and discharges, nursing services, restraints, abuse and neglect, pharmaceutical services, dietary services, clinical records, therapeutic recreation services, and social services. Part 2 presents the policies themselves, ready for use by Texas long-term care administrators as part of their facility's administrative policy manual.