Human immunoglobulin G-glucose oxidase conjugates (HIgG-GO) were studied in detail to establish optimum conditions under which maximum enzyme activities and immunological reactivities can be retained. These properties determine the analytical utility of these conjugates. Reactions of four different coupling reagents (glutaraldehyde, p-benzoquinone, sodium periodate and N-succinimidyl 3-(2-pyridyldithio) propionate) with glucose oxidase (GO) and human immunoglobulin G (HIgG) were investigated. Conjugates made with p-benzoquinone were found to be far superior since they retained maximum enzyme and/or immunological reactivities. Enzyme activities were determined by spectrophotometric measurements of the active flavin content of GO. This method was simple, convenient and correlated well with the standard peroxidase procedure. Rate nephelometry was established as a reliable method to measure apparent immunological reactivities of the conjugates at μg/ml levels. Hill plot treatment of the rate nephelometric data shows that the immunoprecipitin reactions may be cooperative, with two antigenic sites or steps in operation. This may explain the need for mixtures of monoclonal antibodies to observe immunoprecipitin reactions. Angular and concentration dependence of the scattered intensity during immunoprecipitin reactions was measured for the conjugated and unconjugated HIgG. From these data the weight-average-molecular weight (Ṁ) of the transient scattering complexes were estimated using Zimm plots. The Ṁ values were in the range of 2.8 x 10⁸ - 11.0 x 10⁸ daltons and were in good agreement with the theoretically predicted values. Equilibrium binding constants of the conjugates were not significantly different from that of the unconjugated HIgG (K´ₒ = 6.0 x 10⁷), showing that under equilibrium conditions the binding properties are similar. However, heterogeneity indices obtained via Sip's transformation were higher for the conjugates (a = 0.68-1.0). Such a behavior may be due to some restriction of the number and type of antigenic sites recognized by the immobilized antibodies in the presence of an enzyme label on the antigen.

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Photocopy of typescript. / Digitized by Kansas Correctional Industries

After studying both Oriental and Western paintings, I became interested in many different approaches involving composition, color harmony, design, texture, and form. It was my main purpose to explore various painting media by means of combining materials, techniques, and processes used in the Western and Oriental paintings. The source of my paintings is the sum total of my experience in both Oriental and Western paintings. Most of the Oriental paintings were either sketched or painted out of my imagination. They are clear realism in the Oriental sense of the work. Most of my Western paintings are either abstract or semi-abstract. Some of them were sketched in the Portland area; especially the diptychs and triptychs of my work reflect my feelings of nature: the cycles of the season, the rich autumn colors in the fall, and the times of the day. It is not a record of my feelings about a particular place or moment. Rather it is an accumulation of all the things I have seen, abstracted and organized to express all I have ever felt and learned about nature. History shows that new forms of art have always been found absurd at first and then condemned out of hand by the public at large. Hence, I do not feed on a single dish, do not limit myself to a single cuisine; I am on no diet. I merely like it all. Therefore, as an art teacher with a combination of Western and Oriental art backgrounds. I hope I can teach Korean high school students by means of mixed media in expressing their own ideas for their creative work. Here, I would like to define what my mixed media mean. By it I mean techniques, materials, and processes used both in Western and Oriental paintings. In the mixed media I used masonite board, rice paper, canvas; oil, ink, tempera, pastel; sharp pointed Oriental and wide Western bristle brushes. I tried to figure out the most economical materials for the Korean student, but it was almost next to impossible to do so. It was simply because some materials easily attainable in my country may not be available in this country and vice versa. They, if any, may be more costly. For instance, rice paper is much more expensive in this country than in Korea; masonite board is more expensive in Korea than in the United States of America. Therefore, I decided to leave it to my future planning. Also contained within my thesis are my education objectives for Korean high school students. In Korea the art education in high school is still tradition-bound, although the trend is changing gradually toward an improvement in thinking and imagination concerning art. In this sense I would like to emphasize creativity which comes whenever the individual searches for a new solution which is novel, and unique, representing the culmination of a creative act.

This project is the building of structural decoration in clay. Joining wheelthrown pieces and building with slabs or coils are the methods used. The work is augmented by a study of the evolution of similar forms in other periods. A list of criteria for evaluating materials and methods is developed. Colored slides of the constructions built for the project are included and the history of each form is discussed.The material presented gives insight into the development of form. The intuitive knowledge gained from the project will be used by the writer as a basis for further exploration of form and can suggest methods and directions for other individuals in their own research. Recommendations are made for stimulating an increased sensitivity to form among high school students.

Diss.--Wien, 1996. / Résumés en allemand et en anglais. Bibliogr. p. 330-339. Index.

Thesis--Linköpings universitet, 2000. / Notes bibliogr.

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This report outlines the overriding themes, concepts, processes, and influences in my work over the last three years. Although my work has progressed much during that time, I still have a fundamental interest in using a reactive and intuitive process to elicit ideas. This process undermines legibility through layering and then imposes a frame to contain each piece to let specific images emerge. Much of my work relates to the human form either formally or through its uncanny relation to the viewers own body. Through these methods I make images and objects that project my personal psychological cycle of fascination, repression, terror and humor. / text

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