Methods of ceramic chronology building are based on certain assumptions concerning the pattern of stylistic change in ceramics. These assumptions are, however, not necessarily identical in different methods. Also, the general applicability of the assumptions in each method is not endorsed by solid empirical observations of stylistic change in ceramics and theoretical considerations concerning processes producing stylistic change in ceramics. The inapplicability of assumptions of a method undermines the reliability of ceramic chronology created by the method. In order to evaluate the reliability of existing ceramic chronologies, (1) theoretical considerations were made concerning processes producing stylistic change in ceramics and (2) empirical observations were made concerning aspects of stylistic change in ceramics in a well-controlled archaeological setting, i.e., stylistic change of Tusayan White and Gray Wares in the American Southwest between A.D. 850 and 1150 where tree-ring dating is available as an independent means of temporal control. As a result, it was revealed that (1) substantial temporal overlap can be present in the manufacture of successive styles of ceramics, (2) continuity criteria of the typological method are not necessarily applicable to stylistic change in ceramics even in a continuous population, and (3) significantly large time lags can be present in the diffusion of manufacturing frequencies of styles even within an area in which the styles are shared. In light of these findings, the typological method cannot be accepted as a method of ceramic chronology building. Occurrence and frequency seriations are, on the other hand, acceptable methods. However, for reliable chronological seriation attention must be paid to potential errors caused by contemporaneous variation of stylistic compositions among assemblages due to time lags in diffusion and variation in generational composition of individuals who produced assemblages.

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This story begins in the Midwest, among the everyman. A story lived by many. Where you go to work so that you can go up north and to the lake. This story is set in the cities of West Michigan, and on the banks of the worlds longest freshwater cost line. A place that is remembered through the souvenirs collected along the way. Where the color of the water, and the smell of the air, can release a flood of memories for those indoctrinated by this story. A place where I spent 26 years, living the story, working, going up north, and going to the lake. I tell this story through my objects, but it is not my story alone. It is the story of Michigan; the story of everyman. Traveling 1,700 miles to Missoula, Montana, has highlighted the story of everyman, and allowed me to examine my part of that story.

Thesis (MA--Art and Design) -- Auckland University of Technology, 2003. / Also held in print (237 leaves, ill. some col., 30 cm.) in Wellesley Theses Collection. (T 738.0993 THO)

Thesis (M.S.)--Virginia Polytechnic Institute and State University, 1991. / Vita. Abstract. Includes bibliographical references (leaves 73-77). Also available via the Internet.

Thesis (Ph. D.)--University of Washington, 1991. / Vita. Includes bibliographical references (leaves [86]-92).

Thesis (Ed. D.)--Illinois State University, 1985. / Title from title page screen, viewed June 9, 2005. Dissertation Committee: Max Rennels (chair), Jack Hobbs, Normand Madore, Thomas Malone, Marilyn Newby. Includes bibliographical references (leaves 97-99) and abstract. Also available in print.

This practice-led research investigates clay-based impermanent creativity, exploring this means of expression as a contribution to knowledge in the expanded field of contemporary ceramic art practice. The research considers recent developments in innovative work by practitioners from the ceramic tradition, characterised by unconventional uses of material, natural decay and weathering, deliberate destruction, performance and physicality. A key aspect of the research exploration is phenomenographic alignment of personal praxical development with that of contemporaries sharing backgrounds in the ceramic tradition. A case study approach based on a reflexive Schönian and Kolbian cycle is utilised and research material is viewed from trans-disciplinary perspectives to explore and elucidate its nature, impacts and implications. Impermanence in clay is found to de-familiarise art work, altering and enhancing the creative role of percipients. Relationships between work, maker and percipient are explored. Mediatisation of impermanent clay-based art is considered for its impact on work’s reception and interpretation. A perceptible shift is detected in such art practice from the arena of visual art towards that of performance, moving artist and audience relationships towards shared ownership in ceramic creativity, in which co-presence of work and percipient are essential. Aspects of relational aesthetics offer a cogent framework. Consideration is given to clay’s shared significance with other basic materials such as textile in holding meaning beyond its physicality. The thesis contributes to the discourse on methodological frameworks for practice-led research and to academic writing on contemporary ceramic art in its exploration of clay-based impermanence, encompassing maker intentionality, material alteration and destruction, site/location and significance, performativity and unrepeatability, and record. It provides a transferable research model for considering creative impermanence. Areas identified for further research include artist/audience relationships and the nature of creativity, the role of location, performativity as an aspect of contemporary practice, and curation of performance and impermanence.

Thesis (M.F.A.)--West Virginia University, 2003. / Title from document title page. Document formatted into pages; contains iv, 29 p. : col. ill. + video clip. Includes an injection system video clip. Vita. Includes abstract. Includes bibliographical references (p. 17).

Thesis (M.S.)--University of Michigan, 1998. / Includes bibliographical references.