Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Eric Mallin. Vita. Includes bibliographical references.

Thesis (M.S.)--Oregon Graduate Center, 1986.

Thesis (Ph. D.)--University of Idaho, April 2006. / Major professor: Jerry L. Tuchscherer. Abstract. Includes bibliographical references (leaves 148-164). Also available online in PDF format.

Thesis (Ed. D.)--Boise State University, 2006. / Includes abstract. Includes bibliographical references (leaves 90-99). Also available online via the ProQuest Digital Dissertations database.

Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 159-167). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 104-112).

The diploma thesis consist of three parts. The first part is composed of theory of geometry, sumary basic geometrical concepts in subject-matter for elementary school, situate Math to educate programme and importance teaching with computer today. The second part I wrote as manual referenc book for teacher, who will teach according to my material. Last part describe experiment, which I make in 4. class of basic school. The third part describes pupils work witk programmes SMART Notebook and GeoGebra.

This work explores the possibility of Interactive Storytelling being able to mediate meanings of Chinese Characters used in the Japanese language, or kanji, and successful learning foundations of kanji. A great inspiration for this work was Dr. James Heisig and his series of books “Remembering the Kanji”. The advanced learning principles he proposed were used as a foundation to create an interactive storytelling experience prototype to test if students were able to pick up on said learning strategies and also meanings of kanji. Furthermore, to ensure didactical correctness of the software teachers of Japanese and Japanese studies were asked as well to participate in the test phase with the request for didactic feedback. The obtained results showed that learnability was improved, speaking for the future prospects of this project.

Complex System Sciences, as a field of research, has emerged in the past decade. It studies how parts of a system give rise to the collective behaviours of the system and how the system interacts with its environment. It approaches the question of how life on earth could have appeared by searching for inherent structures in living systems and trying to define common patterns within these structures. Complex Systems are also often described as systems where the whole is more complex than the mere sum of its parts, and these systems are also considered to be at the point of maximum computational ability, maximum fitness and maximum evolvability. Several scientific models have simulated Complex Adaptive Systems. These try to model the emergence of complexity within computer-simulated environments inhabited by artificially evolving organisms. My objective in this thesis is to study the application of Complex Systems and Complex Adaptive Systems to Interactive Art and to test how one could construct interactive systems that can create dynamic and open-ended image structures that increase in complexity as users interact with them. Ideally, these interactive artworks should become comparable to Complex Adaptive Systems or even become Complex Systems themselves by satisfying some of the key properties of such systems.

Networked Public Spaces: An Investigation into Virtual Embodiment is an exploration of issues surrounding networked public spaces in relation to three artworks created by the author between 1995 to 2000: Virtual Concrete, (1995); Bodies© Incorporated (1996-2000); and Datamining Bodies (initiated in 2000). All three works have several key things in common: each exists on the Internet; each is conceptually connected to the idea of online identity and virtual embodiment, and each required extensive research to inform and inspire the creative practice. The projects are presented within three main sections, each of which attempts to link personal experience and history to a larger cultural context within which the works were produced. The first section, "Breaking with Tradition," provides an overview of historical events that have influenced the changing relationship between artist and audience and argues that the foundations for networked art were laid largely by conceptual artists working during the 1960s and 1970s. The second section, "Distributed Identity," examines the emergence of identity in online public spaces, focusing specifically on issues surrounding the appropriation and use of the term "avatar," and the current cultural preoccupation with databasing and archiving. The third and final section, "Visualizing the Invisible," explores the various efforts to map cyberspace, particularly paying attention to the implicit intersection of network data visualisations and biological systems, and the popular trend toward developing more "intelligent" networks through use of autonomous agents.