Thesis (M.S.)--Utah State University, 2009. / Illustrations only available in Utah State University print archival copy. Title from title screen (viewed Nov. 12, 2009). Program: American Studies. Includes bibliographical references. Archival copy available in print.

Thesis (M.A.)--Brigham Young University. Dept. of Art, 1988. / Bibliography: leaves 99-103.

As technology advances and engineering capabilities improve, more research has focused on microscopic possibilities. Microelectromechanical systems (MEMS) is one area that has received much attention recently. Within MEMS much research has focused on sensing and actuation. This thesis presents work on a particular actuator of interest, the thermomechanical in-plane microactuator (TIM). Recent work has shown the possibility of a novel approach of sensing mechanical outputs of the TIM without ancillary sensors. This sensing approach exploits the piezoresistive property of silicon. However, to implement this approach a full model of the TIM would need to be obtained to describe the physics of the TIM, as well as development of a calibration approach to account for variations between devices. This thesis develops a multi-physics model of the TIM to realize this sensing approach. This model determines the mechanical state of the TIM using the same electrical signal that actuates the TIM. In this way the TIM is able to operate as a self-sensing actuator. To allow this multi-physics model to be tractable, work was done to simplify the thermal modeling of the TIM. A preliminary calibration approach was developed to adequately compensate for variations between devices. Thermal modeling and calibration were coupled with mechanical modeling and a developed sensing approach to form the full multi-physics model of the TIM. Validation testing of the model was performed with a modified calibration approach which showed good correlation with experimental data.

Minerva Teichert (1888-1976) was a twentieth-century American artist, who spent most of her life residing in remote towns in the West, earnestly balancing the demands of family and ranching, and painting scenes of her beloved Western frontier. Her steady and significant production of art is remarkable for any artist, and particularly compelling when one considers her time constraints, inaccessibility of art supplies, distance from other artists and art centers, and lack of public attention. The success of women artists during the first half of the twentieth-century was dependent not only upon their artistic aptitude, but also upon external forces, such as family, friends, and mentors. As an artist during this era, Teichert benefitted especially from the circles of women who surrounded her, offering sympathy, encouragement, assistance, a ready network of support, and who enabled her to pursue her passion, which she succinctly described, “I must paint.” This thesis employs a methodological framework informed by feminist, collective conscience, and social network theories in order to elucidate an artist's vision that transcends feminist viewpoints and western heroic individualism. The reality of female networks in Teichert's life translates not only to the certainty of women within a Western mythology dominated by men but also to a powerful counter-narrative where collaboration and community are essential to the success of settlements in the American West. Here Teichert introduces an altogether different vision and story. In her pioneer paintings, composed during the 1930s and 1940s, one sees a reflection of her own life, and that of her pioneer ancestors, which emphasizes the feminine, the importance of collaboration, and the centrality of community.

It is my thesis that the impetus for Minerva Teichert's prolific mural production came from the lofty ideals of the Beaux Art mural tradition which she encountered and embraced during her studies at the Art Institute of Chicago from 1909 to 1912. Furthermore, it was the great interest in mural decoration during the 1930s, spurred by government patronage, that provided Teichert with the opportunity to apply these ideals to large-scale works. Research into the Beaux Art mural tradition has been difficult, as recent scholarship on the subject is negligible. An understanding of this early mural movement however, yields a greater understanding of later mural production in America. I am convinced that not only Teichert, but other muralists of the 1930s, were motivated by Beaux Art ideals.