<p> Aither includes the inter-relatedness of human and non-human beings as well as of matter and non-matter. </p><p> My art practice reinforces the position that aither, or the space between and around three-dimensional works has an experiential energy and a force that supports and enlivens the work.</p>

<p> With an overwhelming concern for functionality, the design world and industrial production have moved far beyond the pure necessity of the handmade object. With the paper coffee cup, disposable utility is the primary goal; afterwards the service is performed and the thing is discarded. On the other hand, the clay object can be used and reused allowing a personal relationship to form between the user and the object, the maker and the user. My work is meant to reconnect us with the haptic; the tacit knowledge of the physical. I want the user to think of a place beyond the gallery; I want my sculpture to bring greater awareness to the constructed world around us. I am focused on discussing the functional aspects of mundane or ordinary things and investigating the importance of objects, as they exist within popular culture and the domestic sphere, by constructing tableaus from <i>component-based</i> objects fabricated from ceramic.</p>

This study examines the internal workings at Fisk University from 1977-1984. The main aim is to uncover several hidden factors contributing to the demise of the historically Black colleges and universities in the United States. The mission, place, and historical role of the challenges at Fisk University and the manner in which they were dealt with are presented. The period 1977-1984 is investigated because unlike other critical periods in the University's history, the issues which propelled the institution to the point of crisis are clearest and contain many important lessons relevant to the present, especially as they relate to the struggle for survival of the historically Black colleges and universities. The findings suggest that the failure of the Fisk Board of Trustees to be more involved in the governance of the university at a broader spectrum, along with their view of a contemporary education and the educational mission of a "Black college" led to the systematic destruction of the institution. Moreover, the board's views were contrary to the conjunctural and strategic educational needs of African American people in the United States of America.

Writing, for some, is seen as a predominantly subjective subject. Many standards of how writing is evaluated exist among institutions and professionals, and along with this, there are complications with fulfilling these standards because of the variety of opinions in what makes someone ready for college-level work. Because of this, it is hard for high schools, universities, and other organizations to agree on and determine one set of standards. This chapter will discuss the issue of college readiness and will introduce and discuss the need for an understanding of how college-level writing is defined among four different organizations. Then I will give an overview of each standard and look at the discussions that have arisen from professionals and educators. Lastly, this chapter will provide the overview of this study and my research questions.

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This study concerns itself with the matter of researching the levels of eroticism in the poetry of African American women from the Harlem Renaissance to the present. The research explores the subject of sexual taboos in the African American community, but more specifically examines the sexuality of African American women and how, through poetry, their sexuality evolves making them complete and whole beings. The researcher found that by using poetry as a vehicle African American women have been able to display themselves as strong, sexual beings. Within their poetry they show that eroticism can be used as a tool for development of self rather than as a tool for development of self rather than as a vice which gives voice to heartache and pain.

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The research explores the rationale and the implications of an imposed curriculum innovation, the introduction of computer aided design, (CAD), into fashion design courses. The work is a singular, personal exploration of the phenomenon CAD; it is seeking explanations and does not attempt to offer generalisations or theories. The study examines theories and ideas of creativity, and the process of design in the production of fashion garments. Philosophical, psychological and physiological ideas and attitudes that cluster around the concept 'design' are examined. The transient nature of knowledge assumes increasing importance as the study progresses. The field work covered three major areas. First, a survey of CAD systems and their use in the British clothing industry was undertaken in 1985. This provided a 'snapshot' of aims and attitudes towards CAD at that time. Contacts with the same companies in 1989 showed that some perceptions of CAD had changed. Second, studies were made of the use of CAD in the design process. The research was directed towards the activities of individual students when using CAD, with reference to their process of design, their thinking style, and their personality. Third, the possibilities of CAD were explored in a commercial design context. Theoretical and personal explorations and experiences of the use of CAD were undertaken and recorded. Design projects and artefacts were realised. In order to extend knowledge of computer aided design, a CAD system with a differing set of priorities from established commercial systems was developed. This was done in co-operation with a commercial software house, Concept II Research; the software programme ORMUS-FASHION was created. The system was used in the field studies with students, and for personal design work. The research offers new insights into the accessibility of CAD to the fashion/textile designer, regardless of his or her technological knowledge. It demonstrates that CAD is not neccessarily a preserve of the logical mind. The effective use of CAD in the Fashion Industry is related to a wider set of human characteristics, motives and changing processes of. creative thought; and these are, of course, very often illogical. It is a case study which shows knowledge being selectively changed, intentionally changed, individually changed, collectively changed, experientially changed, unconsciously changed, inexplicably changed, continually changed. There is no access to things as they are.

The fIrst part of the thesis deals with the development of modem painting in the Islamic world according to Western concepts and styles. It traces the inception of Western aesthetics from the 19th centmy onwards and touches on the political, social and economic determinants that aided their introduction in the following countries: Turkey, Egypt, Lebanon, Iraq, Algeria, Tunisia, Morocco, Iran, Syria, Jordan, Palestine, Sudan, and the Arabian Peninsula. The second part of the thesis analyzes the movements which sought to establish a modem art style in the Islamic world that would confirm a national artistic identity. It follows the different art movements which undertook this quest that eventually led to the development of the contemporary Calligraphic School of Art. It discloses the factors and artists which induced its inception. It establishes the main styles and various branches of the modem Calligraphic School of Art, including in-depth analysis and critique of each style, sub-style and its adherents. The placement of the Calligraphic School within the scope of international art is also mooted. The thesis ends by establishing a continuity between traditional Islamic art and the contemporary calligraphic school of art in the Islamic world.

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