The project involved producing a group (16) of audio-visual installations that successfully displayed and exposed various Muzak situations. The following questions, relating to individual pieces, were of concern: 1. What is the basic intent of each installation or piece? 2. Does the piece communicate the intent of the artist? 3. Which installations or pieces will adapt to any space? 4. What visual documentation is necessary to preserve the idea?

Dreams can be defined as a series of thoughts, images, or emotions that occur during sleep. The impression of strangeness, which is certainly a characteristic of dreaming, comes from three primary performances: (1) a loosened temporal and spacial world, (2) short attentional controls and (3) fewer critical evaluations. In dreams, time and matter are not bound by physical properties, and scenes may change with remarkable rapidity or awesome slowness. One out of three people can recall dreams upon awakening. During a night's sleep there are usually three separate dream periods per night, which contain at least two dream stories within each period.

In this creative project, I chose to explore the visual potentials of combining plastic materials with paper or fabric or both in such a way as to produce both visually strong and personally meaningful works. During the completion of the ten pieces, a written journal was kept in order to maintain a record of the progress and outcome of this investigation. In addition, data was illustrated by photographic slides. One piece was photographed at various stages of development, and all of the pieces were photographed at completion. The following analysis of the finished work was made from this information.

The purpose of this study was to give information on watercolor painting in combination with printmaking and secondary media. The objectives of the creative problem were stated in two parts. The first dealt with the exploration into kinds of secondary media which affect the printed surfaces and the watercolors, and the second dealt with the investigation into the kinds of secondary media that can be effectively integrated with the collograph and the monoprint.

Experimentations with overlays of color within my imagery have developed an interest in surface embellishment resulting from the juxtaposition of overlapping hues, integration of collage, and extended use of mixed-media as a printed visual statement. Past printmaking experiences include exploration of a variety of procedures including lithography, intaglio, and serigraphy. Prints have been executed in edition and monoprints, singular techniques and in combination. Individual techniques were expanded through the use of collage and linear application of graphite.

The energy dynamics of creativity are the metaphysical foundations upon which the theory of holistic aesthetics was built. Traditional inquiry into creativity has been concerned with the isolated issues of either the process, technique, product, creator, or environment in which creation occurs. The aesthetics presented herein provide the art educator with an alternate approach and attitude. The absolute presupposition from which the theory develops states that "there is naught but energy, for God is life." The resulting model which incorporates the rationale of the physics of light is designed to illustrate relationships between the creator and the energies of creativity. Educational applications and significance of the model are described in terms of light and color; these practical implications lend themselves to empirical testing.

In this limited survey, nineteenth-century cast-iron facades in Texas were recorded and compared to iron-fronted buildings in New York City. It was found that generally, the still existing buildings in Texas cities and towns were similar to those in New York in style but differed to the extent to which the cast-iron elements were used. It appears that nineteenth-century builders in Texas knew of New York trends in cast-iron but had definite regional preferences.

This study was concerned with the development and testing of an instrument to measure levels of aesthetic judgement making. The review of evaluation methods for aesthetic judgement resulted in a two-part instrument. The review of related literature demonstrated that the majority of instruments for aesthetic judgment employed a naive to sophisticated judgment comparison to determine levels of aesthetic sensitivity. The inadequacy of a score reporting only the degree of agreement between the subject's choice and the choice of a panel of experts without indicating the source agreement was discussed. Content analysis of aesthetic responses used in research studies by Wilson and Morris were presented as an alternative means for determining aesthetic criteria. Part one required the subject to select the better of two art works and to state the reasons for the choice. Part two, a self-scoring component, consisted of the Wilson categories presented as typical statements containing the primary criterion for the category. The subject was instructed to select the statements that were closest in meaning to his initial response.

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.

The purpose of this project is to investigate the sculptural possibilities of warp distortion and manipulation through the utilization of the weighted-warp process. A secondary purpose is to explore the technique of warp weighting beyond a single fabric layer. It is projected that a weighted layer can be combined with one which is tensioned evenly and tied onto the floor loom (loom tensioned). In this manner, the loom-tensioned layer remains stable. The weighted layer is free to move through the heddles while maintaining tension on the warps.

The problem consisted of creating a series of jewelry pieces in metal which embody the concept of a self-portrait. Each piece in the series has a physical outside and an inside area in its structure which together form a conceptual self-portrait. Each piece was partly preplanned in detail and partly spontaneously executed. The spontaneously executed parts of the individual pieces serve to include the presence of the subconscious self-image. The series when viewed as a whole or as individual parts will give an insight to my self-image.

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.

The problem of this thesis is to determine the evolution of the architectural design of the Kimbell Art Museum building from its origin as a concept to its realization in the completed structure. This study has two objectives.The first is to discover the process by which the physical museum building cam into being. The second is to trace the conceptual evolution of the Kimbell Art Museum building. This problem has three parts, each of which has been made the subject of a chapter. The first, "Concept Development," sets forth the pre-design concepts of the founder, the director, and the architect. The second, "Design Development," establishes a chronological sequence of architectural design presentations. The third, the "Conclusion," compares the pre-design concepts to the finished building.

In this creative project, I investigated the problems of producing, selecting, presenting, and installing a one-person exhibition. I executed a series of 31 drawings, paintings and prints from which 21 pieces for the exhibit were selected. From the body of work executed prior to and during my graduate study, 21 pieces were included based upon the relative quality of the imagery. There were no restrictions with regard to media or size. My goal in this project was to assemble and present a coherent and harmonious exhibit in the North Texas State University art gallery.

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.

Because the terms art and aesthetic are often ambiguously used, the purpose of this study was to develop a method of analyzing and clarifying their usage in written texts. Chapter I includes hypotheses and assumptions of this study. The first hypothesis was that it is possible to develop a systematic, objective, and replicable method of analyzing and clarifying the usage of art and aesthetic in art education texts. The second hypothesis is that, as a result of this analysis, it is possible to compare the usage of art and aesthetic in one text with the usage of these same terms in another. The two texts chosen as sources of data were Becoming Human Through Art by Edmund Burke Feldman and Emphasis; Art by Frank Wachowiak and Theodore Ramsey. The assumptions upon which this analysis was based are (a) that frequency of mention indicates author emphasis, and (b) that, based on analysis which indicates emphasis, summary definition of an author's teaching beliefs regarding art and aesthetic would be possible. Although both hypotheses are accepted, limitations of the method result from the subjectivity which existed in the selection of variables, the inference of contextual meaning which determined placement of variables in categories, …

The problem for this creative research in lieu of thesis has been to investigate in depth the difficulties and possibilities encountered when combining the woodcut and intaglio media into one entirely editionable print. Arriving at this particular problem was natural-- I feel an innate affinity and facility for creating with the woodcut medium.

This study reports on the development of a curriculum guide to insure some degree of experience uniformity in the first art course available to students in high schools in Mesquite, Texas. Current general education and art education literature as well as curriculum guides from American schools provided the behaviorally oriented framework and objectives, content, and teaching strategies. The guide reflects a balance between the ideal and the real physical environment in which the guide will be implemented. Conclusions include the concepts that teacher education in using behavioral objectives is necessary, that a behaviorally oriented guide will work in Mesquite high schools, that behavioral objectives will facilitate evaluation, and that the trend toward tri-part subject content will increase in art curricula.

This document is an attempt to objectify the subjective. The purpose of the investigation was to determine how a previous mode of expression, namely, two dimensional mixed media, could evolve toward an expressive mode which incorporated the making of three dimensional works. The main concern was to determine how the two dimensional statement gave way to one which was three dimensional, or what constituted the three dimensionality of the work.

The intention of this study is to examine the relationship between fired clay and certain found objects. Working from the assumption that clay, being a natural substance, shares a common ground with certain other natural substances, such as wood, hemp, rock, etc., a primary aspect of the investigation consists of discovering successful combinations of these materials. In each design two subordinate problems were encountered. These were (1) determining the best means of combining and preserving objects in a semi-permanent state and (2) ascertaining whether the thrown form is by itself visually satisfying or if it would be improved by distortion.

To investigate this process I selected, as my creative project, the execution of a series of drawings. The objective of my creative project was the synthesis of additive/subtractive procedures of a drawing from its inception to its completion. A written journal was utilized to gather data pertinent to the investigation.

The problem of this study was a content analysis of art and art-related vocabulary utilized in selected children's leisure time television viewing. Three programs (Misterogers Neighborhood, Sesame Street, and The Electric Company) were selected for the analysis. Audio tapes were made, transcribed, and analyzed for the art and artrelated words based on contextual usage. The analysis of the resulting 223-page tapescript revealed 467 art and art-related words which occurred a total of 3,668 times. The identified art and art-related words were subsequently sorted into five categories by systematically applying specific criteria. The conclusion was that television is limiting in art and art-related vocabulary as a viable language source.

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.

The objectives of the creative problem may be stated in two parts. First, the utilization of the self-portrait theme in order to explore a variety of drawing techniques, media combinations, and surface manipulations; and second, the maintenance of a sketchbook-diary which accompanies the study as supportive data. The sketchbook entries include not only pertinent visual material but also verbal commentary. The sketchbook-diary is sequential and denotes the various stages of development as well as the progression of the study.