Artist Statement I am inspired by living in multiple environments and experiencing many regions of the United States. My imagery varies from references to landscapes to geometric abstractions of quilt patterns. My media consists of acrylics, oils, and pastels on supports including fabric, canvas, or paper. Mixed media allows me to add multiple layers in creating visual textures, depth, and energy to draw in my viewers. The media is glazed, flowed, dripped, sprayed, rolled, scraped, and scrubbed into my interpretations of natural elements and geometric patterns. My landscape paintings are of observations of nature, and I attempt to capture the power, motion, and energy of a moment in time. I paint from memory and purposely filter the images, simplifying and strengthening the focus of the captured moment. Rhythmic patterns in nature and seasonal light on the land are sources of my visual stimulation. My affinity for geometric shapes and patterns is sometimes expressed in abstract paintings of quilt patterns. I form rhythmic compositions and enhance the patterns with delicate brushwork and several glazed layers for added surface interest. These patterns of quilts are also reminiscent of landscapes from a bird’s eye view.

In 1998, the Museum of Modern Art held a retrospective exhibition of artworks by Jackson Pollock. Curators Kirk Varnedoe and Pepe Karmel worked in an art historical context that had been significantly shaped by the early critical writings by Clement Greenberg and Harold Rosenberg. The curators’ stated intention for the exhibition installation was to provide “a fresh chance for new generations of artists to come to terms with a legendary figure” and to enable “the broader public to reassess a quintessentially American artist in light of three decades of new scholarship,” without “ hewing to any particular critical dogma.” Despite this curatorial intention, this thesis examines the ways in which the retrospective inscribed Greenberg’s and Rosenberg’s theories, while disregarding subsequent scholarship that did not explicitly inscribe or align with the mid-century criticism in its account of Jackson Pollock.

My personal life experiences are reflected in my art. I use symbolic and expressive marks in developing my abstract imagery, which acts as a visual language. The combining of my past and current art work, fused together, has become what I call a creative matrix. I see my images as choreographed compositions using a mixed media approach. The open-ended interpretation of my art have expanded the never ending possibilities of creation.

It is a gestural sensibility forever suspended in the material as it cools. With each movement to and fro, I become fully immersed and given over to the activity of glassworking, where the simplest impressions whisper of fantastic melodies. I remain open to it: conducting a collision: a symphony of riffs, vamps and arpeggios. Constructing the chorus in disjunctive phases as if it forms out of its own directive. The polyphonic rhythm of decisions converge into a new composition, now completely obscured from the intro—existing in reference only to itself and you

In this thesis, I propose a team-based design curriculum that aligns with the cognitive development of middle school age students. The ability to think abstractly develops at a specific time in development, according to widely accepted cognitive theory. The middle school years are the launching pad of abstract thinking. At this age, students are also primed for learning through social activity. The design process often includes abstract problem solving challenges, and working within a team structure. These ideas build a foundation for a research question—could a team-based design curriculum in middle school strengthen students’ natural cognitive development by providing opportunities for adaptations through experiential learning? In this thesis, I propose a team-based design curriculum for middle school students, which follows a trajectory of concrete to abstract challenges, complementing the natural cognitive transition of this age.

Logical deduction and abstraction from detail are fundamental, yet distinct aspects of reasoning about programs. This dissertation shows that the combination of logic and abstract interpretation enables a unified and simple treatment of several theoretical and practical topics which encompass the model theory of temporal logics, the analysis of satisfiability solvers, and the construction of Craig interpolants. In each case, the combination of logic and abstract interpretation leads to more general results, simpler proofs, and a unification of ideas from seemingly disparate fields. The first contribution of this dissertation is a framework for combining temporal logics and abstraction. Chapter 3 introduces trace algebras, a new lattice-based semantics for linear and branching time logics. A new representation theorem shows that trace algebras precisely capture the standard trace-based semantics of temporal logics. We prove additional representation theorems to show how structures that have been independently discovered in static program analysis, model checking, and algebraic modal logic, can be derived from trace algebras by abstract interpretation. The second contribution of this dissertation is a framework for proving when two lattice-based algebras satisfy the same logical properties. Chapter 5 introduces functions called subsumption and bisubsumption and shows that these functions characterise logical equivalence of two algebras. We also characterise subsumption and bisubsumption using fixed points and finitary logics. We prove a representation theorem and apply it to derive the transition system analogues of subsumption and bisubsumption. These analogues strictly generalise the well studied notions of simulation and bisimulation. Our fixed point characterisations also provide a technique to construct property preserving abstractions. The third contribution of this dissertation is abstract satisfaction, an abstract interpretation framework for the design and analysis of satisfiability procedures. We show that formula satisfiability has several different fixed point characterisations, and that satisfiability procedures can be understood as abstract interpreters. Our main result is that the propagation routine in modern sat solvers is a greatest fixed point computation involving abstract transformers, and that clause learning is an abstract transformer for a form of negation. The final contribution of this dissertation is an abstract interpretation based analysis of algorithms for constructing Craig interpolants. We identify and analyse a lattice of interpolant constructions. Our main result is that existing algorithms are two of three optimal abstractions of this lattice. A second new result we derive in this framework is that the lattice of interpolation algorithms can be ordered by logical strength, so that there is a strongest and a weakest possible construction.

Picture In my painting series „Picture“ I use a method of visual memory and simple surfaces. My paintings are abstract. In this form I have found my one way to landscape. I have create five large acryl paintings 3x 180cm x 170cm, 190cm x 180cm, 200cm x 170cm.

Topic is processed sunset painting technique oil painting means to Latn and is crowned by a series of "Afterglow". is a continuation of previous work dealing with optical illusions and phenomena occurring in nature. "Glare, however, focuses on logical Only authorized color and shape inspired by the light background storyline. This resulted in a series of closed playing with forms and means in the final painting abstract painting

Ce travail examine l’œuvre de l’artiste abstrait italien Alberto Burri (Città di Castello, 1915 - Nice, 1995) et ses nouvelles contributions à partir de 1945, notamment dans l’utilisation de la matière en peinture : Goudrons, Sacs, Bois, Fers, Plastiques, jusqu’aux Cretti et Cellotex. La métamorphose de sa recherche est contemplée en faisant état des différentes phases de sa création. C’est dans le Texas, durant sa captivité au cours de la Seconde Guerre mondiale qu’elle vit le jour et continua sans cesse de prendre forme, dans chaque lieu qu’il habita : Rome, où il entra en contact et influença nombre d’artistes, et aussi Los Angeles, Beaulieu-sur-Mer. Prenant également en compte la réception critique de ses créations en Italie et ailleurs, on étudie ses spéculations par rapport à celles des Avant-gardes et à d’autres artistes travaillant avec de la matière, en France, en Italie, dans d’autres pays européens, aux États-Unis et au Japon (entre autres, Gutaï, Néo-Dada, Nouveau Réalisme, Arte Povera…) Tableaux, sculptures, grands «Cycles», œuvre gravé, livres d’artiste, décors pour le théâtre, Sculptures-Théâtre : un voyage monumental, où Burri - entre révolution et classicisme - concevant des œuvres puissantes et raffinées, à l’ «équilibre déséquilibré», renouvela complètement le langage artistique de l’après-guerre. / This survey examines the work of the Italian abstract artist Alberto Burri (Città di Castello, 1915 - Nice, 1995) and his original contributions using a variety of materials in artistic creation since 1945: Tar, Burlap, Wood, Iron, Plastic, and finally Cretti and Cellotex. The metamorphosis of his research is evidenced through all the different phases of his activity, starting in Texas at the time of his internment during WWII and constantly continued in every place he lived: Rome, where he met and influenced many artists, Los Angeles, Beaulieu-sur-Mer. Also examining the critical reception of his work in Italy and elsewhere, his speculations have been studied in relation to those of the Avant-garde and other artists working with materials, in France, Italy, other European countries, United States and Japan (among others, Gutaï, New-Dada, Nouveau Réalisme, Arte Povera…) Paintings, sculptures, big "Cycles", graphic work, artists’ books, stage sets, Theatre-Sculptures: a monumental journey, during which Burri - between revolution and classicism - created powerful and refined works of "unbalanced balance", completely renewing the post-war artistic language.

La réflexion porte sur la façon dont, grâce au langage, le monde perçu est conçu, catégorisé et nommé. Dans un premier temps, le cadre théorique et la problématique de recherche sont posés par un rappel critique des compréhensions classiques de la catégorie nominale et l’exposé des propositions linguistiques sur la production du sens dans la nomination et son organisation prototypicale. Une attention particulière est ensuite accordée à la relativité linguistique et à l’opposition entre termes «concrets» et «abstraits» retenus comme procédures d’investigation. L’analyse porte sur le vocabulaire de l’eau dans trois langues (français, russe, anglais) tel qu’il apparaît à travers des échantillons pris dans deux registres du discours, littéraire et scientifique, et dans les trois langues. L’examen de ce corpus conduit à la confrontation des sens repérés et à l’élaboration d’une esquisse de la représentation prototypicale de l’eau. / The reflection focuses on how the world is categorized and named through our language. Firstly, theoretical framework is defined by a critical reminder of traditional comprehension of the category. We develop our reflection on the production of meaning and the prototype organization issues. A particular attention is given to linguistic relativity and opposition between terms considered as «concrete» and «abstract». Our analysis focuses on water vocabulary in three languages (French, Russian and English) as it appears through the samples taken from two types of discourse, literary and scientific. The study suggests a confrontation of identified meanings in order to develop a sketch of the prototypical water representation.