The question addressed in this project is as follows: How, if at all, are nostalgia and ambiance created in my work through the use of the following: 1. color 2. repeated patterns from textiles, wallpaper, and quilts 3. dimension 4. text 5. personal and nostalgic imagery 6. art deco motifs 7. fixed media/found objects. Each of these items will be discussed as it relates to each piece.

The purpose of this study was to examine the standard line of functional pottery produced in my studio. It involved two areas, and the questions I presented to myself were the following: 1. How is each form developed? 2. What consideration is given to the specific function of that form? 3. How can the development of a standard line of production strengthen the personal style of my pots?

This paper discusses the development of a Stress Tolerance Scale for the purpose of use at assessment centers. Charles P. Lankford discusses the behavioral checklist used in a study of graduate students in business administration and the assessment of their stress reactions.

I have designed and built a brickless ceramic studio kiln which is modular in design and consists of ceramic fiber insulation and a protective aluminum exterior skin. I wanted a kiln that employed current technology and would be suited to my needs as a ceramic artist. It is my hope that this research will encourage people to consider the possibilities available when constructing new kilns and to be willing to experiment in order to find new solutions to the problems that continually confront us.

It is frequently considered to be apparent two stages during assembly time. The first is the preprocessor stage in which a single instruction called the micro instruction is replaced with the sequence of instructions called the macro definition. The second is the processor stage in which the output from the first stage is assembled into machine language instructions for a particular computer. This paper descibes the first one which is macro-preprocessor stage.

In pursuit of the project, I sought to address the following concerns: 1. Which intaglio processes, or their combination, proved to be the most useful in production of the book? 2. In establishing a concept for the book, what problems were encountered? 3. What is the visual relationship between the printed images, the book, and its container?

The purpose of this investigation has been to review the various forms of passementerie in order to provide a background for weaving narrow bands and ribbons. While the basic fabric structures, plain weave, twill, and satin are used in the production of ribbons, some problems occur in adapting them to the narrow form.

For the last few years my work has been concerned with an exploration of the landscape image through the use of the traditional printmaking techniques of intaglio and lithography. The images which were produced during this time became increasingly flat and at the same time increasingly spontaneous. At the onset of this project, the images were the result of feelings about and memories of landscape, rather than studies taken directly from nature or from secondary sources. As the desire for spontaneity within the image increased, I felt the need to alter my method of working in order to accommodate additional flexibility. I concluded that this would exclude the traditional print methods.

It was my intent that the formats work harmoniously with the printed matter, conceptually, aesthetically, and functionally. Specific concerns addressed were 1. How did the format contribute to a clearer understanding of the print concept? 2. How did the functional design and construction of the formats contribute to or detract from the successful unification of print and format? 3. How did the aesthetic design and construction of the formats contribute to or detract from the successful unification of print and format? Five formats were constructed, several consisting of multiple parts. A comparative photographic record of each print, as originally conceived and subsequently displayed within these formats, will be presented for evaluation.

The purpose of this project was to manipulate imagery present within the Tarot in a symbolic and visual space working through my own process of preconception. Each of the finished pieces was to be derived through an initial traditional process and then altered by use of monoprint methods and the incorporation of found object directly upon the print surface to give the illusion of a three-dimensional character, or actually contain the print in a three-dimensional format.

As a result of my interests I became concerned with 1. The invention of eccentric imagery for use in painting formats. These images were intended to subtly allude to archaic and archetypal objects of forms (artifact reference) yet remain anonymous in terms of absolute identity. 2. Random and ambiguous placement of the imagery on a surface resulting in a mapping or diagramming of a possible 'place,' with a broadly interpreted landscape orientation to space. 3. Paintings having the characteristics of the objects in terms of materials and processes used, surface tactile qualities, irregular shape. These three ideas formed the basis of the problem.

This paper discusses the handling of Double Bass in the chamber music written by Gioacchino Rossini and Franz Schubert. Russell Clark White provides historical background to the importance of these contributions before delving into musical analysis of the individual bass parts of these pieces.