FINGERPRINTING - PAST, PRESENT AND FUTURE The objective of this thesis is to present the forensic fingerprinting as a scientific method which, although in comparison with other forensic sciences being one of the oldest, is not out-dated at all, quite to the contrary - it presents an ever-changing and continuously developing field of science. The objective is approached through three distinctive and yet intertwined chapters corresponding with the title of the thesis - past, present and future of the fingerprinting. They are also designed, at least in part, to capture this constant forward motion. Accordingly, the first chapter aims to describe briefly scientific roots of the method, the way it drew in its beginnings from various scientific discoveries, inspired by the rise of Darwinism. Particular emphasis is put on the description of the formulation and empirical confirmation of three physiological laws of fingerprinting that even today serve as its grounds. The second chapter deals with and tries to describe the current state of knowledge and particular methods used in detection, development and preservation of fingerprints, especially latent ones. To do this it seems to be necessary to describe briefly the anatomy and physiology of friction ridge skin, as it enables to fully comprehend the way in...

My artwork is about the impact of the digital revolution on every aspect of life, such as relationships, war, and self image. I explore this in the creation of sculptures that represent abstracted globes or video game worlds, digital animations concerning the virtual and simulated, and prints as allegories for embodied post-human experience. The visual themes of my work are bitmapped patterns, early computer graphics, and twenty-sided dice.

Thesis. 1975. Ph.D.--Massachusetts Institute of Technology. Dept. of Electrical Engineering and Computer Science. / Vita. / Includes bibliographical references. / Ph.D.

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Includes bibliographical references (leaves 255-279). Available also in a digital version from Dissertation Abstracts.

This dissertation gives an aesthetic analysis on the selected woodblock prints of the Okinawan artist Gima Hiroshi concurrent with an exploration of the identity politics of the Okinawans. Deconstructing the historical circumstances of the archipelago, the contradictions and predicaments that the islanders have been struggling with from the trade era and annexation period, to the wartime, the U.S. occupation and the reversion to the Japanese state are portrayed in the war prints. With the constitution of a multi-vocal identity, a regionalist identity has been articulated. This regionalism is manifested in the artist’s prints about traditions, customs and everyday life in terms of folk dance, drum playing, craftsmanship, festivities, daily activities, agriculture, residential space and the practices related to nature. Following a thorough discussion of the visual texts is the elucidation of essentialism in contemporary Okinawan studies that identity politics is itself delimiting and institutionalizing in representation. Essentialist representations reinforce the dichotomy of the self/other structure that they can be more detrimental than explicit performative discourses. As a concluding argument, this essay finishes with a proposed alternative to essentialist literature – visual representations. The interpretative potentiality and transformative powers of art serve as a stepping stone for the third party to experience the experience of the Other, which challenges the presumptions imposed by the self/other narrative. In this process, the marginalized can be made visible. / published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

This project involved a series of linoleum, woodcut, and intaglio prints whose subject matter was derived from my imagination. The inspiration for this work is the ocean and the myriad life forms found there. I perused books on the ocean and created characters from these images. These prints also have a psychological edge and emotional aspect reflecting the state of mind I was in when 1 created them. Putting these ideas together in the intaglio prints as well as using different techniques was the challenge in making this work. My goal was also to explore linoleum and woodcut prints where I used multiple blocks and/or rolled more than one color on a block to achieve a multitude of hues for one image. I found this complex way of making images exciting and feel that the works created have been successfully resolved. / Department of Art

The primary objective of this creative project was to produce a professional grade body of work, which clearly expresses the author's perspective and concerns. The works were executed in the traditional mediums of woodcut, etching, drypoint, and drawing. The second objective was to further explore these mediums and their potential in contemporary art. / Department of Art

The primary objective of this creative project is to explore the meaning and complexity of simple forms, also referred to as symbols. The project examines symbols that interest me. These symbols may be found in various cultures and subcultures throughout the world. I also designed symbols to describe weather phenomena.I have provided a thematic interpretation of my work, focusing on the themes of identity and spirituality. When people view my work they may have multiple interpretations, but a thematic explanation of each piece also provides information for the viewer to ponder. The paper also includes a discussion of work by other artists and ideas that have informed and developed my prints. This body of work required traditional printmaking techniques such as: intaglio, deep etching, chine cone, color printing and photomechanical transfer using imagON photopolymer film. / Department of Art

Thesis (Ph. D.)--Indiana University, Dept. of Fine Arts- History of Art, 2006.

Thesis (M.F.A.)--Rochester Institute of Technology, 1983. / Typescript. Includes bibliographical references.