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

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.

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.

The purpose of telecommunication network configuration optimization is to find the best homing relationship between tandems and switches so as to minimize interswitch traffic, or equivalently to maximize intraswitch traffic. Note that, since minimal interswitch traffic implies minimal IMT utilization, communication costs will also be minimal.

There is a natural tendency for biological systems to change as their environments change. The fittest in the biological systems survive, adapt to their environment, and multiply while the weakest in the environment diminish. There have been attempts in computer science to model the processes of natural selection and survival which occur in biological systems in order to obtain more efficient and effective machine-learning algorithms. Genetic algorithms are the result of these attempts.

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.

In this proposed study, I had hoped to discover new strategies to develop imagery. I also wanted to know if using strategies in my work that expressed the psyche of myself, would work to express the psyche of other people. By using new and old strategies, I wanted to see not only if the outside face of people in photographs could be misread but if the inside face of people could be expressed.

I has been almost four years since this change of perception from "belief" to "disbelief." Looking back I can say this shift can be characterized as "belief" standing for an idea of art which requires it to represent a singular closed reading, while "disbelief" stands for a realization of an art which corresponds more with the complexities of social interaction and produces work with an array of possible readings. Or more simply stated, "belief" requires the desire to destabilize meaning. Or even more simply stated, "belief" equals "truth," while "disbelief" equals the absence of "truth."

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.

I planned to explore the concept of the dichotomy of barriers and connections further. The works I planned to produce would incorporate a variety of printing techniques, drawing, and conceptual development. Each technique and method allowed for my perception to speak in a slightly different voice. The use of these multiple techniques would allow me to explore fully the complexity of barriers and connections in a manner more comprehensive than the one technique alone.

I wanted to see if I could affect the "unknown" by attempting to steer the subconscious. I kept a journal of events going on in my life, dreams, therapy sessions, or ideas for songs or short stories. In my studio, I kept a running list of ideas for titles of songs, stories, or paintings. In addition to this, I recorded narrative or metaphoric ideas that the paintings presented on the search for the final painting.

I plan to create a representation of the textures of four distinct states of moving water in three stone sculptures. These structured textural elements are intended to provide compelling visual stimuli that will enhance the viewers' understanding of the sculptures. The dynamic quality of rhythm inherent in the four observable patterns will be conceptually and physically captured on a stone surface.

In this project, I further examined my work as a fictional layering of vernacular culture within the discourse of historical art. This investigation addressed the sources of my art, both in the outside world and in the context of an inherited art tradition. I focused on the issues of the formation and function of my work as an estheticized representation of this culture.

It was my intention to create pieces that seem to be both entrapping and protective at the same time. I hope that, as the viewer attempts to interpret each piece, there will be a shift back and forth from one to the other until both sides are accepted and a balance is found.

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?

The purpose of this study was to use the bomaki/arashi shibori process to create three-dimensional fabric forms which could be incorporated by the design of a garment.

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.

The object of this problem in lieu of thesis has been the exploration and identification of the retained two dimensional design idiom in the sculptural format of my work. (By this, I am referring to the lateral, planar quality which often continues as part of my designs.)

For the purpose of this study I intended to use Majolica to allow me both more flexibility in the physical act of decorating my ceramic work, as well as the opportunity for the expansion of my selection of symbols. During this investigation the following questions were addressed: 1. Was the color range attainable with Majolica relevant to my work? 2. Was my chosen imagery complemented by the special properties of Majolica. 3. Did the textural possibilities of Majolica benefit my work?

To emphasize the preciousness of these tools, I envisioned object-specific carrying cases, like a violin case or my grandmother's china cabinet. The object-specific case or cabinet is, like the tool it houses, special and singular inits utility and serves to underscore the ceremonial nature of the tool. Of all the examples of object-specific environments I've looked at, most have been constructed of fine woods; many have also been either covered or lined with various skins, silk, or velvet to reflect the preciousness of their contents.

My work has developed to the point where it exists within the grey area between painting and sculpture. These hybrid works necessitate the transition from creating objects to that work singularly to installations of various works that operate as a whole. The purpose of this study is to identify successful methods of making this transition through the use of the computer. The computer should provide new strategies to integrate sculpture and painting into a hybrid form.

My work contains physical and illusionary layers of images which reflect or relate cultural and personal experiences. These experiences address collective cultural patterns or personal and collective experience simultaneously. Visual metaphorical and literal patterns represent behavior and experiences. Inherent in the presentation of these types of patterns and experiences is the implication of time and the relationships between old, new, and changed experience. One vehicle for effectively portraying these linear layers of literal/metaphorical images in fibers could be visual images representing a metaphorical pattern combined with literal patterns. The literal pattern would either reflect or have a relationship with the metaphorical pattern. Another vehicle for expressing the linear layers of images could be varying representations of depth of field exist.

I am interested, both from a personal standpoint and from a cultural perspective, in pursuing the meaning of thes eimages singly and as they combine with others. In turn, the results, I hope, will lead to the discovery of more images for my image encyclopedia. After this introduction subsequent chapters will explore my reasons for the combinations of images I choose and will place the finished drawings in their contemporary art context. My goal will be to note the changing meanings of the objects as they interact serially.

I was curious as to what my work was about and what images were important to me. There had to be a reason why I was driven to do what I did, whether it was a conscious, conceptual purpose or a subconscious, intuitive reason. The problem of this investigation was to discover which of these I used in the creation of my images or whether I used both.