This creative project dealt with the development of pattern as it relates to composition. A variety of methods of developing pattern were utilized: stenciling, transfer, and Macromedia Freehand. This assortment of applications provided for a broad exploration of pattern making. The artist also conducted in-depth research of artists who incorporated pattern into their work.As a result of the project, the artist increased his comprehension of the capabilities of pattern in picture making. An additional insight about the disappearance of the pattern format was also attained through research of the pattern movement. The writer identified an under-utilized method of depiction that is likely to be resurrected and developed. This research is artistically relevant in that it recognizes a compositional method that was prematurely abandoned and is worthy of re-exploration. / Department of Art

The purpose of this study was to examine the effects of hydration on %BFADP while using %BFDEXA as the criterion measure. Twenty healthy males and females ages 20-28 participated in the study. The subjects underwent dehydration in the environmental chamber at 32°C and 50% relative humidity until a total of 3% of their body weight had been lost. Subjects were measured with ADP and DEXA at euhydration, 1%, 2%, and 3% dehydration. The results revealed significant differences between %BFADP and %BFDEXA at each level of hydration. %BFDEXA did not change due to dehydration; however, %BFADP decreased as a result of dehydration. Therefore, standardization criteria must be employed in order to assure proper hydration and accurate %BF measurements via ADP. / School of Physical Education

Using Software-as-a-Service (SaaS), software resides on servers not on user computers. Service Oriented Architecture (SOA) provides the ability to divide an application into parts known as services. This allows enhanced support for distribution, code re-use and code sharing. Combining these ideas, applications can be dynamically composed from components stored at convenient locations in a wide-area network. This benefits users since software installation and upgrades are unnecessary and is also suited to personal devices that may have limited resources (e.g. disk space) to support conventional installed software. I have designed, prototyped, and evaluated component-placement and location algorithms for a system that combines ideas from SaaS and SOA to support on-demand composition of applications that run on user devices from storage sites in the network. These algorithms support mobility and are scalable and reliable. I have implemented a Java prototype and a simulation system that I used to assess my system’s behaviour.

<p> The persuasive power of music is often relegated to the dimension of <i> pathos</i>: that which moves us emotionally. Yet, the music commodity is now situated in and around the liminal spaces of digitality. To think about how music functions, how it argues across media, and how it moves us, we must examine its material and immaterial realities as they present themselves to us and as we so create them. This dissertation rethinks the relationship between rhetoric and music by examining the creation, performance, and distribution of music in its material and immaterial forms to demonstrate its persuasive power. While both Plato and Aristotle understood music as a means to move men toward virtue, Aristotle tells us in his <i>Laws</i>, through the Athenian Stranger, that the very best kinds of music can help guide us to truth. From this starting point, I assess the historical problem of understanding the rhetorical potential of music as merely that which directs or imitates the emotions: that which "Soothes the savage breast," as William Congreve writes. By furthering work by Vickers and Farnsworth, who suggest that the Baroque fascination with applying rhetorical figures to musical figures is an insufficient framework for assessing the rhetorical potential of music, I demonstrate the gravity of musical persuasion in its political weight, in its violence--the subjective violence of musical torture at Guantanamo and the objective, ideological violence of music--and in what Jacques Attali calls the prophetic nature of music. I argue that music has a <i>significant function</i>, and as a non-discursive form of argumentation, works on us beyond affect. Moreover, with the emergence of digital music distribution and domestic digital recording technologies, the digital music commodity in its material and immaterial forms allows for ruptures in the former methods of musical composition, production, and distribution and in the political potential of music which Jacques Attali describes as being able to foresee new political realities. I thus suggest a new theoretical framework for thinking about rhetoric and music by expanding on Lloyd Bitzer's rhetorical situation, by offering the idea of "openings" to the existing exigence, audience, and constraints. The prophetic and rhetorical power of music in the aleatoric moment can help provide openings from which new exigencies can be conceived. We must, therefore, reconsider the role of rhetorical-musical composition for the citizen, not merely as a tool for entertainment or emotional persuasion, but as an arena for engaging with the political.</p>

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This thesis scrutinizes the IRB's designation as an "expert tribunal" over the content of a "well-founded fear of being persecuted". Firstly, it suggests that a decision-maker's appeal to the "good reasons" and "say-so" of an "expert" authority serves only the interests of legal justice. Secondly, it looks behind the "rule" of a well-founded fear and considers the role of language and rhetoric in the "expert" construction of the "genuine" refugee claimant. Finally, it argues that the possibility of an ethical and responsible form of justice for the gay refugee claimant lies behind the "rule" of an authentic homosexual identity, in the moment of recognition of the distinct face and vulnerability of the gay refugee claimant. / Cette thèse propose une critique théorique de la nomination de la Commission de l'immigration et du statut de réfugié du Canada comme "tribunal expert" concernant le contenu de la définition d'une « crainte fondée de persécution ». D'abord, elle suggère que la référence par un décideur au « bon raisonnement » et à la « parole » d'une autorité « experte » sert surtout les intérêts de la justice judiciaire. Deuxièmement, elle cherche au-delà de la « règle » d'une crainte fondée et analyse le rôle de la langue et de la rhétorique face à la construction du demandeur « authentique » au statut du réfugié. Enfin, elle suggère qu'une forme de justice éthique et responsable pour le demandeur homosexuel au statut du réfugié est possible et se trouve derrière la « règle » de l'identité homosexuelle authentique, au moment de l'identification de son visage particulier et de sa vulnérabilité.