Theses and Dissertations at Montana State University (MSU)
Permanent URI for this collectionhttps://scholarworks.montana.edu/handle/1/733
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Item Investigation of a control strategy for manipulation and prevention of Pseudomonas aeruginosa PAO1 biofilms in metalworking fluids(Montana State University - Bozeman, College of Engineering, 2018) Ozcan, Safiye Selen; Chairperson, Graduate Committee: Christine Foreman; Markus Dieser, Albert E. Parker, Narayanaganesh Balasubramanian and Christine M. Foreman were co-authors of the article, 'Quorum sensing inhibition as a promissing method to control biofilm growth in metalworking fluids' submitted to the journal 'Environmental science & technology' which is contained within this thesis.Microbial contamination in metalworking fluid (MWF) circulation systems is a serious problem. Particularly water based MWFs promote microbial colonization despite the use of biocides. Inhibiting the quorum sensing mechanism (i.e. cell-cell communication) in bacteria is a promising approach to control and prevent biofilm formation. The objective of this study was (i) to determine the microbial community in MWFs from operational machining shops, (ii) to investigate the effect of well-known quorum sensing inhibitors on controlling biofilm formation, and (iii) to implement experimental data from selected enzymes to a computer simulation biofilm accumulation model (BAM). Planktonic and biofilm samples from two local machining shops in Bozeman, MT, were collected to determine the extent of microbial colonization. In both operations, microbial communities were dominated by Pseudomonadales (60.2-99.7%). Rapid recolonization was observed even after dumping spent MWFs and cleaning. Considering the dominance of Pseudomonadales in MWFs, the model organism Pseudomonas aeruginosa PAO1 was selected for testing the effects of quorum sensing inhibitor compounds on biofilm formation. From a variety of enzymes, natural, and chemical compounds screened for quorum sensing inhibition, Patulin (40microns) and Furanone C-30 (75microns), were found to be effective in reducing biofilm formation in MWFs when applied as single compound amendments and in combination with the polysaccharide degrading enzyme alpha-amylase from Bacillus amyloliquefaciens. Particularly Furanone C-30, as a single amendment and in combination with alpha-amylase decreased biofilm formation by 76% and 82% after 48 hours. Putatively identified homoserine lactones in MWFs treated with Furanone C-30 provided evidence for quorum sensing inhibition on biofilm formation. BAM was employed to study the effect of alpha-amylase (3 Units mL -1) on P. aeruginosa PAO1 biofilms in batch reactors for 24 and 48 hours. In the absence of alpha-amylase, biofilm thickness was predicted to be 23.11 and 31.37 microns, while its presence reduced thickness to 10.47 and 13.07 microns after 24 and 48 hours, respectively. The results presented herein highlight the potential effectiveness of quorum sensing inhibition as a strategy to reduce biofilms in MWFs.Item Classroom methods for metalsmithing at the secondary level(Montana State University - Bozeman, 1981) Denning, Kenneth BruceItem The common experience(Montana State University - Bozeman, College of Arts & Architecture, 1993) Patten, Ian KuakiniMy work originates from youthful experiences focusing on how they have formed and shaped me and the way I view the world around me. The sculptures evolved out of a period of self examination and a realization that these experiences are not unique to myself only, but are shared by a great number of people. When these experiences are multiplied by the number of people who have felt them, they affect the world as a whole as we pass them along generation to generation. My personal role as an artist is to use the three dimensional presence of sculpture to communicate these experiences to the viewer. Use of the figure is important to me because it provides the viewer with access to the work and changes the question from 'What is it?' to 'What is this about?'. The figure draws the viewer in, and with the addition of other visual clues, such as broken glass or cast objects, forms the composite story. The viewers are then able to form associations with the work through references to their own experience.Item Essence(Montana State University - Bozeman, College of Arts & Architecture, 1993) Maxwell, Sharon FrancisAs a metalsmith I try to acknowledge in my own work the history and technical requirements which are inherent in the process. I work with flower motifs in response to the previous traditions of metalsmithing as well as my own fascination with the botanical world. The scientific study of plants, roots, genetics, soils, and plant structures is also an interest of my siblings. I am intrigued with the visual and sensual qualities of flowers. The fascination I have with flowers is longstanding and is matched by my love of adornment and decoration.Item If a tree fell ...?(Montana State University - Bozeman, College of Arts & Architecture, 1941) Durden, Robert AnthonyThe work produced for this exhibition has been centered around the forest as a lyrical metaphor The sculptures are meant to be seen as human-like tree forms. It is my intention to describe whimsical characters which are based both on imagination and specific individuals in my life. It is the similarities between the human form and trees that I find most interesting. The branches of the trees relate to human appendages, the bark to the clothing that one might wear, and the color to the spirit of the individual, etc. . ... In some cases, the relationships are very evident and at other times they are less apparent or more symbolic because of the way in which they are exaggerated. The narrative aspect of the sculptures has become more and more important in my work. This is apparent in the sculptures The Weeping Tree and The Donut Tree. The Weeping Tree retains more of the human qualities of the vertical forms than does The Donut Tree. These two sculptures present the contradictions of life. The Weeping Tree has a movement which radiates from the center outward to the ground indicating the sadness and suffering that is an ingredient in life. The Donut Tree, on the other hand, has a repetitive upward movement which is intended to promote an optimistic point of view. In all of the sculptures, the connection between the ground and the figure has been de-emphasized. This transition provides an awkward visual tension which implies that this figure is either standing precariously bent on falling or it has the ability to stand firm on very little ground.Item Ruminations(Montana State University - Bozeman, College of Arts & Architecture, 2004) Romero, Miguel Angel; Chairperson, Graduate Committee: Richard HelzerWhat is most important to me in the making of my artwork is the pleasure it gives me to work with materials and forms. When manipulating materials into shapes my intentions center around the corporeal relationship of the viewer to the artwork as well as the space they both will inhabit. For example, my piece 'Yoke' jumps from one wall to the other in a sweeping and gravity-defying gesture, thus coming forward to meet the viewer. This is a gesture which the viewer completes by either coming closer to touch the piece, or by the more aloof route of mere contemplation. The actual sources for the type of imagery I use in my work vary in origin as much as my personal experience does. For example, the idea for the shape of 'Ruminant' came from a stretched out nautilus shell, and its rocking motion suggested to me the repetitiveness of ruminating. On the other hand, the shape of 'Yoke' is a variation I derived from ancient Mayan ceremonial belts, speculated to have been used during Mayan ball-game rituals. I use these images simply because I find their forms intriguing--in other words, I like the way they twist, turn and activate positive and negative space. My familiarity with these objects is just a testimony to either my interest in nature or my background as a Meso-American--that is, these objects are within my range of experience. The way I use materials is also a reflection of intersections of my experiences. For example, the way I use steel as lines to create volumetric forms reflects my interest in drawing. Furthermore, in my younger years I used to work as a farm hand in western Honduras. The look and feel of hay and grass is a subtle but powerful memory, as well as a very direct symbol of the food chain we are a link within.Item Cake-o-rama(Montana State University - Bozeman, College of Arts & Architecture, 1990) Woloson, Wendy AdairUsing cakes as subject matter is a continuation of the food imagery I have drawn from in the past. Party cakes, especially, represent an excessive consumption at luxurious, festive gatherings. In a larger context, the cakes allude to a delirious atmosphere paralleling the vacant mentality promoted by the mass media in our culture. I direct this criticism through my work by creating the cakes with "flavors" - specific popular belief systems that "decorate" the cakes with satirical commentary. Thus, the super-saturated tiered cake with candle-crown and banner embodies the superficial idealization of a pageant queen. Because their hats are alike, the Pope and a Klansman share a cake in an uncomfortable stasis of competing ideologies. The decorative dome atop the Capitol transforms into a hovering U.F.O., suggesting a recent or imminent invasion. The humor in my work serves as an important vehicle for conveying more serious ideas. I question peoples' blind reliance on established beliefs and obsolescent attitudes. My scope ranges from ancient religious adoration to the deification of certain contemporary institutions. I have chosen to work with both prints and sculptures due to my eclectic technical background.Item Sculptures(Montana State University - Bozeman, College of Arts & Architecture, 1987) Barnes, Cynthia DianneI use images which depict and demonstrate the cycles of life. There are trees which are bare, in leaf, and in fruit. The tree, whose roots are in the earth, and branches which stretch toward the sky, give protection to a myriad of animals. The snake, a creature grounded to the earth, and the bird that soars in the sky, find shelter in trees. I often observe birds in flight. With the onset of this spring, I began finding numerous dead birds. I collected them. Handling the birds, reflecting on them as symbols of freedom and flight, I thought of death as a release from this world. In making the birds exist in my art, they seem to have achieved immortality on earth, for I have perhaps interrupted the cycle, by denying them death. The myth of the Phoenix, consumed by fire and reborn has become a symbol of triumph over the mysteries of death. The birds, bugs, cats and snakes have undergone a transformation and have become for me, a way to help in my understanding of my relationship in this world, my collective past and offer a glimpse of the future.Item Organization(Montana State University - Bozeman, College of Arts & Architecture, 1996) Cooperman, Lisa RachelThis show is about my recurring emotional experiences like joy, dread and frustrations, which elicit responses in the body. Using anatomy as the organizing structure, I link the body’s physical responses to mechanical activities like hammering, cutting and scooping. The sculptural elements represent the physical response to emotional experiences; the paintings help locate that response. Shapes of organs, bones and internal systems intersect with the physical world of iron, silver and beeswax to create a composite anatomy. Because emotion doesn’t have a specific location in the body the way digestion or respiration does, I assign it location using x-rays and anatomical illustrations as reference materials. I select anatomic shapes based on their formal suitability to represent emotional experience. In particular I am drawn to container and joint forms: the container form expresses the body’s metaphoric ability to hold, collect, and store emotions; the joint form represents its ability to connect with and repeat emotion. The joint and container forms, linked with shapes that evoke utensils, tools, and musical instruments, become the formal vocabulary for representing emotional experience.Item Images of compelling dichotomies(Montana State University - Bozeman, College of Arts & Architecture, 1982) Randall, Susan Isabel; Chairperson, Graduate Committee: Richard HelzerI work within a narrative format giving emphasis to images which allude to explosive conflicts in life. The pieces are introspective and personal, often conveying a strained situation which leaves the viewer unsettled. Painting, drawing, natural fibers, and non-ferrous metals work well within the scale of traditional metal smithing techniques. I believe color is very important in each piece. Basic patinas for metal have a limited palette; in these works their qualities have been extended with oil paints and prisma-colors. The color adds vibrance and definition to the pieces. Superimposing painting and drawing over the metallic surface causes a visual vibration which adds to the uneasiness of the situation. My imagery is often bound together by barbed wire and other linear elements. The enclosed forms intensify the emotional situation and relate a confining boundary to the subject. The uncontrollable, explosive elements are physically imprisoned within these wire delineations. The fragmented walls and planes imply both fragility and a ripping, violent image. These two forces can be seen in all the works to varying degrees. The metal is worked in a way that communicates frailness yet also reflects a cutting harshness I feel these volatile elements are compelling and a strong dichotomy within each piece.