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.

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

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 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.

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.

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.

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.

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.

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.

The objective of my problem in lieu of thesis was to produce twenty hand-built porcelain objects which reflected this conception of beauty. To review the success of my project, I asked three questions to evaluate my work. 1. Was there significant structure to my works? 2. Was there significant discord within these structures? 3. Did the tension created through the interaction of these two elements of my work create beauty?

The goal of this problem was to incorporate clear nylon monofilamnet in a series of weaves traditionally chosen for their absorbent virtues that in these cases would achieve interesting textural effects and light-reflective qualities in addition to varying degrees of transparency.

I wished to explore ways to introduce my futuristic symbols in my work that have a relevant universality, support a primordial mysticism, and maintain a personal spirituality. This would be achieved by utilizing imagery with both contemporary and futuristic connotations. This type of imagery would require specific sculptural techniques more refined than was previously present in my work. The sculpture would consist of solitary, tensely postured, monumental figures composed according to a classically proportioned totemic model.

I believe that an artist needs a mechanism(s) built into his or her working method out of which the greatest number of options may arise. I suggested that, for me, painting on paper could be one such mechanism. I wanted to pursue paper as a viable surface on which to paint and discover to what extent it would influence my choices in the working process.

My proposed objective was to create eight illustrations using Fusion as a tool to communicate concepts. I posed the following questions for evaluation. 1. Can I create two-dimensional illustrations effectively when applying the knowledge and techniques I have studied? 2. In what way will the use of multiple techniques affect the concept?

Just as packaging in its most mundane, pragmatic sense refers to the commercial and traditional aspects of jewelry, so also does display. In addition to being a mere vehicle for presentation, the idea of display creates an intriguing set of design and conceptual problems which seem to be a natural extension of my current and ongoing concerns.

The problem I have addressed this year revolves around my search for a means to visually challenge mankind's present concepts and ideology concerning the wolf and the cheetah. At the same time, it was essential that I find a way to visually challenge previous artistic interpretations of these animals. This involved the discovery of a new form of animal representation relevant to modern societies' problems concerning the future of wildlife and the significance of the predator.

For my Problem in-lieu-of-thesis, I proposed to execute a related body of work using "horse" as subject. It was my intent to investigate what effects the limits of "horse" instead of "figure" had on the content of my work.

I proposed to base my thesis work upon an exploration of the ideas of the strength, power, and tenuous quality of metals, using a variety of metals in combination with appropriated and deconstructed forms to create cultural narratives. In this exploration, I addressed the materials of metalsmithing and their traditional use.

As the Chair-Woman series has progressed, I have explored the various means to enhance its interpretation. I have determined that materials such as wood and fabric result in a more intimate reading than bronze. However, I have not explored how scale and proximity to other objects will affect the reading. The questions I am seeking to resolve relate to possibilities for expanding the meaning and significance in the Chair-Woman series.

I proposed that two factors could be adjusted in a series of rings in order to achieve total control of implied movement: Proximity and angulation of components. Through careful adjustment of these two factors, I theorized that the implied motion in a ring series could be accelerated, slowed, or omitted altogether.

For centuries, books have been a traditional way to display prints. Contemporary artists' books have become more than simply a method of displaying prints and have, in fact, become a relevant medium for artistic expression. It has been important to my work that each of my artist's books have functioned as a unified whole, all parts of complementing each other and strengthening the overall concept.

Since I was a young child, I have had a deep interest in all facets of the cultures of early humans and more modern primitive peoples-- in particular, their art and their mythology. It was my proposal, therefore, to combine these interests with the styles of my earlier works by using images drawn from the various aspects of my ancestry in several pieces of work in which the layering of those images-- similar to the layers of my heritage-- was used. My choices were limited to a set number of images listed in a "dictionary of symbols." I continued to engage in on-going research of these symbols to determine if there were relationships in their meanings between the various cultural elements of my ancestry.