Maintaining any software is difficult. Whenever an evolutionary change is made to the base version of a program and the new version of the program is created, changes made to the base version of the software must be made to the new version. The answer is to build the software initially with the knowledge that it will change and that the base version will evolve. In other words, change-merging of software is a possible solution. All the work in this area has been done on program integration, change-merging of PSDL programs and software prototypes. The present work explores the possibility of combining the results of two independent updates of an abstract data type into a merged version that is both correct and safe. This report describes a developing theory for semantics-based change-merging of abstract data types.

This thesis proposes to investigate the influence of the Mexican muralists in the United States, from the Depression to the Cold War. This thesis begins with the origins of the Mexican mural movement, which will provide the background to understand the artists' ideologies and their relationship and conflicts with the Mexican government. Then, I will discuss the presence of Mexican artists in the United States, their repercussions, and the interaction between censorship and freedom of expression as well as the controversies that arose from their murals. This thesis will explore the influence that the Mexican mural movement had in the United States in the creation of a government-sponsored program for the arts (The New Deal, Works Progress Administration). During the 1930s, sociological factors caused that not only the art, but also the political ideologies of the Mexican artists to spread across the United States. The Depression provided the environment for a public art of social content, as well as a context that allowed some American artists to accept and follow the Marxist ideologies of the Mexican artists. This influence of radical politics will be also described. Later, I will examine the repercussions of the Mexican artists' work on the Abstract Expressionist movement of the 1940s. Finally I will also examine the iconography of certain murals by Mexican and American artists to appreciate the reaction of their audience, their acceptance among a circle of artists, and the historical context that allowed those murals to be created. / Master of Arts

Piaget observed that various stages involved in the construction of different forms of knowledge are sequential and that the same sequential order is evident in history. There seem to be three main stages in the development of algebra involving the independent and general solution of equations followed by the evolution of abstract algebra. Piaget referred to these as the intra, inter and transoperational stages but they are termed the levels of percepts, concepts and abstractions here. The perceptual level involves isolated forms, the conceptual level concerns correspondences and transformations amongst forms whilst the abstract level is characterised by the evolution of structures of forms. Historically the overall perceptual level of abstract algebra lasted from antiquity to the middle of the eighteenth century. The conceptual level followed, lasting for approximately one century and the subsequent abstract level has prevailed from the middle of the nineteenth century onwards. Each of these levels involve numerous sublevels but instead of being continually broken down into more and more sublevels, in this study a spiral of learning is being considered. Each round of the spiral contains a perceptual, conceptual and abstract level. The way in which perceptual levels can arise from previous abstract levels gives an indication of how knowledge is reorganised and expanded in new unexplored directions as the spiral is climbed. The important aspects of proof and axiomatisation are also addressed here. The historical emergence of abstract algebra reveals a significant pattern concerning the development of mathematics. The levels of thinking involved are important and reveal a general trend of algebraic thought. Hence careful consideration needs to be paid to the revelations arising from historical investigations so that these may help contribute to the encouragement of learning in students of algebra. The idea of levels of learning has been substantiated by many researchers and investigations undertaken in the past. The main characteristics of the three relevant levels and sublevels as well as insights gained from the historical emergence of algebra are being united here to form a comprehensive theory of learning algebra at both the secondary and tertiary levels of study. / Mathematical Sciences / Ph. D. (Mathematics Education)

Piaget observed that various stages involved in the construction of different forms of knowledge are sequential and that the same sequential order is evident in history. There seem to be three main stages in the development of algebra involving the independent and general solution of equations followed by the evolution of abstract algebra. Piaget referred to these as the intra, inter and transoperational stages but they are termed the levels of percepts, concepts and abstractions here. The perceptual level involves isolated forms, the conceptual level concerns correspondences and transformations amongst forms whilst the abstract level is characterised by the evolution of structures of forms. Historically the overall perceptual level of abstract algebra lasted from antiquity to the middle of the eighteenth century. The conceptual level followed, lasting for approximately one century and the subsequent abstract level has prevailed from the middle of the nineteenth century onwards. Each of these levels involve numerous sublevels but instead of being continually broken down into more and more sublevels, in this study a spiral of learning is being considered. Each round of the spiral contains a perceptual, conceptual and abstract level. The way in which perceptual levels can arise from previous abstract levels gives an indication of how knowledge is reorganised and expanded in new unexplored directions as the spiral is climbed. The important aspects of proof and axiomatisation are also addressed here. The historical emergence of abstract algebra reveals a significant pattern concerning the development of mathematics. The levels of thinking involved are important and reveal a general trend of algebraic thought. Hence careful consideration needs to be paid to the revelations arising from historical investigations so that these may help contribute to the encouragement of learning in students of algebra. The idea of levels of learning has been substantiated by many researchers and investigations undertaken in the past. The main characteristics of the three relevant levels and sublevels as well as insights gained from the historical emergence of algebra are being united here to form a comprehensive theory of learning algebra at both the secondary and tertiary levels of study. / Mathematical Sciences / Ph. D. (Mathematics Education)

The purpose of this thesis is the development of an interactive computer-generated rendering system that provides artists with the ability to create abstract paintings simply and intuitively. This system allows the user to distort a computer-generated environment using image manipulation techniques that are derived from fundamentals of expressionistic art. The primary method by which these images will be abstracted stems from the idea of several small images assembled into a collage that represents multiple viewing points rendered simultaneously. This idea has its roots in the multiple-perspective and collage techniques used by many cubist and futurist artists of the early twentieth century.

The purpose of this thesis is the development of an interactive computer-generated rendering system that provides artists with the ability to create abstract paintings simply and intuitively. This system allows the user to distort a computer-generated environment using image manipulation techniques that are derived from fundamentals of expressionistic art. The primary method by which these images will be abstracted stems from the idea of several small images assembled into a collage that represents multiple viewing points rendered simultaneously. This idea has its roots in the multiple-perspective and collage techniques used by many cubist and futurist artists of the early twentieth century.

Call number: LD2668 .T4 1964 B86

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This thesis presents an investigation into the process of new forms of installation art; an exploration of the shifting of artistic activities from conventional studios and fine artist practices to installation art practices. A combined approach was taken whilst undertaking research by studying literature within the field, engaging with other practicing artists and conducting practical analysis. There is also a discussion of new technology in the field of abstract expressionist painting and a dialogue on the differences between traditional and digital abstract painting with regard to their processes. The reflective and issue finding processes undertaken by the researcher in this investigation are discussed in relation to the changes in his practice. The artist’s experimentation with materials and processes and the implications of this as regards the relationship between the artwork and the viewer are also discussed. The thesis is divided into seven chapters of text and images with an accompanying DVD including the main abstract new media installation. The first chapter includes an introduction to the research with the methodology applied. The second chapter involves using the computer to produce abstract painting. The third chapter then focuses on the differences between digital and traditional abstract painting. Moving on from this the fourth chapter covers multimedia installation and its associated processes. The fifth chapter deals with the reflections on the practice element of this investigation. The sixth chapter engages with the evaluation of and feedback from the field trip and with notes from artists with regard to practical production. The final chapter draws conclusions from this research with suggestions for further studies. This thesis will make the following contributions to knowledge: developing the process of animation from 2D abstract painting to a 3D environment with the inclusion of animation; using new technology as a creative tool to enable artists to gain new insights into creative art practices which provide audiences with new experiences of new and multimedia installation; advancing the creative process of new and multimedia artworks taking account of new techniques relating to the manipulation of viewpoints, picture planes and pigment surface as related to traditional methods of image creation and recording and their new media counterparts.