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Approved for public release, distribution is unlimited / This thesis attempts to create a desire for change in DoD's current approach to Network Application Management (NAM). The evolution of NAM into Integrated Network Application Management (INAM) is a crucial component of Network Centric Warfare and achieving Information Superiority and Interoperability. INAM is outlined as three functional requirements, which are Network Awareness, Mission Prioritization linkage to Network Resources, and the Balancing of Service Management. Scenarios play a key role in illustrating the new threats that DoD faces today. These scenarios also identify limitations and challenges to NAM as it exists today. These challenges require significant improvements in flexibility and responsiveness, while providing for wide integration. Trends supporting change are identified in this thesis. Two of the more important trends are the rise of Architectural and Object Oriented Development. Examples such as Training and Testing Enabled Architecture (TENA), Surveillance and Target Acquisition Network (STAN), and Virtual Proving Ground (VPG) are clear examples of these trends. The merging of the Computer Industry's efforts to expand the reach of Operating Systems with the traditional efforts from Network Management is also a trend that is examined. Organizations like Distributed Management Task Force (DMTF) are important to such examinations. Successful change can not be achieved without planning for the transition. This thesis also presents some active transition efforts addressing Network Centric Warfare. TENA, VPG and Naval Postgraduate School's Information Technology Management Master's Program provide three examples of addressing transition in DoD. / Civilian, United States Army Yuma Proving Ground

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This study investigates how different guitarists introduced saxophone-like phrasing into the improvisatory and compositional vocabulary of jazz guitar through their collaborations with saxophonists. This research presents a comparative analysis of phrasing, articulation, and melodic design in solo improvisations. The mixed approach to this study includes analysis of motives, voice leading, articulation, length of phrases, melodic contour, and the execution of bebop vocabulary on the guitar. The findings are based on original transcriptions from significant recordings by guitar-saxophone pairs. These highlight the similarities between and adaptations of musical devices from saxophonists Stan Getz, Jimmy Giuffre, and Joe Lovano into the jazz guitar styles of Jimmy Raney, Jim Hall, and John Scofield. This study supports the argument that the evolution of modern jazz guitar playing is directly connected to the adaptation of saxophone-like phrasing at an improvisatory and compositional level. It also shows that the concept of style in jazz flows between different instruments' lineages. Understanding these findings provides a more complex and accurate concept of the development of style in jazz.

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This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike.