Thesis (Baccalaureate)--University of Oregon, 1915. / Handwritten on t.p.: "Senior thesis by Bertha P. White, 1915." Typescript. Includes bibliographical references (leaves [i-ii]). Also available online.

Thesis (Ph. D.)--University of Oregon, 2008. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 124-137). Also available online in ProQuest, free to University of Oregon users.

Nürtingen, FH, Diplomarb., 2004. / Betreuer: Rudolf Sick.

Zugl.: Berlin, Freie Univ., Diss., 2008

Zugl.: Darmstadt Technische Universiẗat, Diss., 2009. / Angekündigt u.d.T: Brandt, Björn: Make-or-Buy-Entscheidungen bei der Entwicklung und Wartung betrieblicher Anwendungssoftware.

Thesis--University of Chicago. / Bibliography: p. 135-139.

Thesis (M.S.)--Oregon State University, 1987. / Typescript (photocopy). Includes bibliographical references (leaves 92-95). Also available on the World Wide Web.

Thesis - Oregon State University. / Bibliography: ℓ.95-99. Also available online.

Jusqu’à quelques années en arrière, pouvait encore prévaloir le préjugé que l’or cesse d’occuper une placeprépondérante dans l’histoire de l’art après que l’Antiquité et le Moyen Âge en aient fait le parangon de lavaleur, du beau et du divin. Si le Baroque et l’Art Nouveau offrent, manifestement, quelques magnifiquesoccurrences dorées, celles-ci pouvaient être considérées comme purement décoratives, ce qui permettaitparfois d’en disqualifier esthétiquement les périodes et les styles. Un examen objectif de la production artistique de la période moderne et contemporaine montre pourtant que, si l’étalage de l’or semble incompatible avec certaines thèses des avant-gardes artistiques en raison des connotations symboliques (principalement religieuses et politiques) attachées à son prestige et à sa préciosité, les artistes n’ont, de fait, jamais renoncé à en faire usage, encore que de façon plus ou moins subreptices. L’ambition de cette étude est de montrer que l’usage de l’or dans le monde de l’art de la période récente, s’il répond à des programme esthétiques singuliers et, parfois, contradictoires entre eux, partage aussi le fait qu’il vise toujours à produire un maximum d’effet sur ses usagers (artistes et spectateurs). C’est pourquoi nous utilisons ici la formule « aurum ex machina » car il nous semble que l’or, tel le dieu antique qui vientartificiellement dénouer la représentation (« deus ex machina »), arrive toujours à brûle-pourpoint dans laproduction ou la carrière d’un artiste plasticien de manière à sidérer (par sa beauté, sa brillance, sonintelligence, etc.) celui qui en perçoit sensiblement l’intensité. À travers de nombreux exemples, c’est cefonctionnement machinique de l’or que nous tentons d’analyser en déclinant plusieurs modalités d’action del’or dans l’art contemporain et en distinguant, de manière empirique, ce qui relève du concept (l’or commemachine réfléchissante), de la performance (l’or comme machine spectaculaire) et de l’érotisme (l’or commemachine désirante). Pour autant qu’on en puisse juger, le début du XXIe siècle, marqué, à la fois, par untriomphe éhonté et une crise profonde du capitalisme, offre aux artistes d’aujourd’hui, la perspective, à la foisdécomplexée et plus complexe que jamais, d’un or qui, pour être vraiment contemporain, n’en reste pas moins éternel / Until very recently, it was believed that gold no longer held a prominent place in the history of art after theAntiquities and the Middle Ages as the paragon of value, beauty and divinity. If Baroque and Art Nouveaudisplayed several magnificent, golden works, these were purely decorative and offering, sometimes, theopportunity to critique the aesthetics of the period and the style of the time. An objective consideration of artistic production in the modern and contemporary periods shows that, if the display of gold appears incompatible with certain theories of the avant-garde, because of it’s symbolic connotations (principally religious and political) linked to its prestige and value, artists never stopped using it, even though it was used more or less surreptitiously.The goal of this study is to show that, even if part of a specific aesthetic, and sometimes contradictory, program,the recent uses of gold in the world of art share the objective of producing the maximum effect on users(artists and spectators). This is why I use the formulation aurum ex machina because it seems that gold, like theGod of antiquity who arrived on scene at the last minute to magically resolve the crisis at hand, deus exmachina, the turn to gold always arrives at a critical moment in the production or the career of an artist who isovercome by the material’s beauty, radiance, intelligence, etc. and who feels overcome by it’s intensity.Exploring numerous examples, I follow the machine like workings of gold and analyze the different ways thatgold functions in contemporary art. In an empirical manner, I distinguish between the implications of gold as aconcept (gold as a reflecting machine), as a performance (gold as a spectacular machine) and as eroticism (goldas a desiring-machine). For as much as we can tell, the beginning of the 21st century is marked both by ashameless triumph and a profound crisis of capitalism, which offers today’s artists a perspective on gold that is uninhibited but more complicated than ever, still contemporary and always eternal

This thesis is a study of a community in physical isolation. The first chapter describes the methodology used. Short form questionnaires and in-depth interviews were gathered. Three sets of historical maps were drawn from documented sources. A film describing the life style and beliefs of some community residents was made. The second chapter is an evaluation of some of the literature on the neighborhood. This chapter details the hypothesis that external pressures and externally created needs tended in the case of the Lair Hill area to produce a Gemeinschaft-like situation which proves stronger than the many factors making for heterogeneity in this ethnically and culturally and generationally mixed community. Chapter three details the history of the neighborhood: first, from the turn of the century to the beginning of urban renewal in 1958; second, from 1958 to the present day. Chapter four details both the heterogeneous and homogeneous factors in interaction in the community and further explores the conflict between exterior society and the common interest of the people in the Lair Hill community.