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Objectives: To compare optical values in the osteotomy gap created after a Tibial Tuberosity Advancement (TTA) treated with autogenous cancellous bone graft (ACBG), extracorporeal shock wave therapy (ESWT), a combination of ACBG and ESWT, and absence of both ACBG and ESWT using densitometry. Methods: Dogs presenting for surgical repair of a cranial cruciate ligament rupture were randomly assigned to one of four groups; TTA with ACBG (TTA-G), TTA with ACBG and ESWT (TTA-GS), TTA with ESWT (TTA-S), and TTA with no additional therapy (TTA-O). Mediolateral radiographs at 0, 4 and 8 weeks after surgery were evaluated to compare healing of the osteotomy gap via densitometry. An analysis of variance (ANOVA) statistical analysis was used to compare the densitometric values between groups. Results: At 4 weeks after surgery, a significant difference in osteotomy gap density was noted between TTA-GS (8.4 millimeters of Aluminum equivalent [mmAleq]) and TTA-S (6.1mmAleq), and between TTA-GS (8.4 mmAleq) and TTA-O (6.4 mmAleq). There were no significant differences noted between groups at the 8 week recheck. Clinical Significance: There were no significant differences in the osteotomy gap density at 8 weeks after surgery regardless of the treatment modality used. The combination of ACBG and ESWT may lead to increased density of the osteotomy gap in the first 4 weeks after surgery. Densitometry using an aluminum step wedge is a feasible method for comparison of bone healing after TTA in dogs.

The purpose of this study was to investigate the gender stereotyping of two animated films by boys and girls (N=25). Based on Bern's (1983) gender schema theory, it was hypothesized that children would stereotype Aladdin as being for males and Pocahontas as being for females, based on the gender of the lead character. Interviews with participants (five to six years old) revealed that they did not gender stereotype the two films. A majority of both boys and girls liked the two films and felt they were for boys and girls. However, they did not think a girl could rescue another girl when asked to imagine different plot scenarios. They were more likely to believe a boy could save another boy. This study demonstrated that boys and girls relied on gender schemas in their interpretation of animated film.

With the rise in industrial capitalism during the 20th Century, artists increasingly focused on the threat of a disappearing natural world. In the high technology era of the late 20th Century, artists whose practice is termed 'ecological' based their work around new understandings of the relationship between nature and culture, fundamentally underpinned by a shift toward evolutionary, systems-theoretical perspectives from those of conquest and exploitation. Now, at the dawn of the 21st Century, the information era has brought into intersection the discourses of information technologies, quantum physics, and biological science, awakening artists to the challenge of engaging with ecology as the primary subject of their practice. The doctoral project that is the subject of this exegesis focuses critical attention on our scientific and aesthetic understandings of water - a crucial symbolic element of global import in survival. It explores the representation of water in and through art practice that is informed by political ecological awareness and new (digital) technologies. My practice exploits the potential of recent digital technologies to create experiences that aim to encourage a more ecologically sustainable human engagement with nature through this focus on water. This exegesis describes and locates the creative work within an ongoing discourse in contemporary culture that actively seeks to re-establish and redefine the relationship between culture and nature.