This thesis is a description and critical analysis of the processes, concepts and imagery of my artwork. I am interested in creating visual narratives, often figurative, in the form of sculpture, collage, and installation. In my work I attempt to call attention to the human condition, specifically addressing sexuality, mortality, psychological issues and power struggles. I incorporate both cultural and personal references and use traditional and non traditional materials and processes that are intended to conceptually inform the viewer further. My intention is to create distinct embodiments that provoke contemplative emotion and in which the object and the aesthetic experience allow us to consider and reconsider who we are and how we progress as a culture.

La généralisation du procédé d’assemblage par collage au sein des structures aérospatiales, aéronautiques et automobiles est confrontée au besoin d’évaluation non destructive quantitative des assemblages. Le procédé de test d’adhérence par choc laser (LASAT) répond à cette problématique par la sollicitation calibrée des joints collés et l’utilisation de diagnostics non-destructifs pour déterminer l’état résiduel des joints suite à cette sollicitation qui doit décoller les joints faibles et préserver l’intégrité structurelle des assemblages corrects. La détermination des paramètres laser optimaux pour mettre en œuvre ce test d’épreuve non-destructif (ND-LASAT) est réalisée par l’application d’une méthodologie bien définie. Cette dernière implique la caractérisation par une approche expérimentale et numérique de l’assemblage considéré, suivie d’une phase d’optimisation. La diversification des configurations d’interaction-laser matière impliquées dans ces configurations optimisées nécessite de disposer d’outils numériques pour prédire les chargements appliqués aux joints collés. Dans cette étude, le développement et la validation de modèles intégrés dans un code multi-physique répond à ce besoin. Un effort particulier a été porté sur l’évaluation de la précision des chargements simulés. Enfin, la démonstration du procédé ND-LASAT sur trois différents assemblages collés a été réalisée, validant ainsi la méthodologie et la chaine numérique développées dans cette étude. / Bonding process generalization within aerospace, aeronautical and automotive structures faces the need of quantitative non-destructive evaluation of assemblies. Laser shock adhesion test (LASAT) meets this requirement by applying a calibrated stress to bonded joints and using non-destructive diagnostics to determine the post-shock state of the joint. The calibrated stress must disbond weak joints and keep correct assemblies intact. Optimal laser parameters determination aims at implementing this non-destructive proof test (ND-LASAT). It is achieved through application of a well-defined methodology, which implies the concerned assembly characterization by an experimental and numerical approach, followed by an optimization step. Optimization implies diversification of laser-matter configurations. Use of numerical tools for predicting loadings applied to bonded joints is then required. Models development within a multi-physics code is proposed and validated here to respond to this need. A significant effort has been made for evaluating models’ precision. Experimental demonstration of ND-LASAT process is achieved on three different bonded assemblies, and thus validating both methodology and numerical chain developed in this study.

No ano de 1934, o artista alemão Max Ernst lança em Paris um peculiar conjunto de fascículos intitulado Uma Semana de Bondade ou os Sete Elementos Capitais. Trata-se, segundo o próprio artista, de um romance de colagens. A obra, que fora pensada e produzida por Ernst durante férias na Itália, consiste de 182 colagens feitas a partir da combinação de figuras provenientes de romances folhetinescos do século XIX e de enciclopédias do mesmo período. Em cada uma dessas colagens, há cenas de violência e horror, praticadas por seres estranhos, meio humanos, meio animais. Fora a estranheza já naturalmente causada pelas colagens, é curioso notar o fato de que a obra se apresenta como um romance, tanto na denominação dada pelo autor, quanto pela forma na qual foi lançado, inicialmente por meio de cadernos periódicos, à moda dos folhetins, e posteriormente na forma de um grande volume. Este trabalho procura analisar como duas características caras ao romance se configuram nesta obra de Ernst. São elas a narratividade e os personagens. Para tanto, o trabalho faz uma revisão do movimento surrealista, apresentando a colagem de Max Ernst e a análise da narratividade e dos personagens em Uma Semana de Bondade. / In 1934, the German artist Max Ernst launches in Paris a peculiar set of fascicles entitled A Week of Kindness or the Seven Deadly Elements. It is, according to the artist himself, a \"collage-novel\". The work, which was conceived and produced by Ernst during a holiday in Italy, is consisted of 182 collages made from the combination of pictures from nineteenth-century kitsch novels and encyclopedias of the same period. In each of these collages, there are scenes of violence and horror, practiced by strange beings, half human, half animals. Apart from the strangeness already caused by the collages themselves, it is curious to note the fact that the work presents itself as a novel, in the denomination given by the author and also in the form in which it was launched, initially by means of periodical fascicles, in the style of serial novels, and later in the form of a large volume. This work tries to analyze how two characteristics of the novel are configured in this Ernst\'s work: narrativity and characters. In order to do this, the surrealist movement is reviewed, presenting the collage of Max Ernst and the analysis of narrativity and characters in A Week of Kindness.

O poeta brasileiro Max Martins (1926 2009), radicado em Belém (PA), produziu 48 diários entre 1982 e 1999, cadernos que fundem, por meio da colagem, sua criação poética à plástica, configurando um universo de apropriações de imagens verbais e não verbais que se ligam à palavra, na literatura, e aos eventos do cotidiano, nas representações plásticas. Na esteira do conteúdo dos diários em cópias facsímiladas, os capítulos desta tese abarcam as linhas de força Natureza, Amizade e Erotismo aplicando-se principalmente à análise e à interpretação das invenções plásticas resultantes dessa confluência. O estudo detido de Max Martins diarista, poeta e artista plástico revela a transfiguração de sua vida operada em seus registros dos dias, na poesia, em desenhos, pinturas e colagens / The Brazilian poet Max Martins (1926-2009), rooted in Belém (PA), produced 48 notebooks between 1982 and 1999. The notebooks merge, through collage, his poetic creations into visual images, setting up a universe of appropriations of verbal and non-verbal images that connect to the word, literature, and daily events. Following the content in facsimile copies of the notebooks, the chapters of this thesis cover the lines of strength: Nature, Friendship and Eroticism, applied mainly to the analysis and interpretation of plastic inventions resulting from this confluence. This study of Max Martins as diarist, poet, and artist reveals the transfiguration of his life produced in their record of the days, poetry, drawings, paintings and collages

NÁZEV: Portrait and identity in Art Education AUTOR: Zuzana Tomková, BcA. DEPARTMENT: Department of Art Education SUPERVISOR: Mgr. Zuzana Fišerová, Ph.D ABSTRACT: The goal of this diploma thesis is to create a didactic project applicable for various school types based on the knowledge from the chapter on theory. This work analyzes the evolution of portrait in the history of art, mainly photography. Further it delves into student identity and different approaches to it. The work also pursues the development of child artistic expression. Main focus is didactic project "How I perceive myself, how others perceive me" anchored in curricular papers followed by its analysis. A constituent part is an artistic chapter describing an author book "Us teachers" that pursues authors' seeking of own identity through her fellow students. Reproductions of the author book, copies of students' art works and a table analyzing these works can be found in appendix. KEYWORDS: Portrait; Selfportrait; Identity; Zuzana Tomková; Photography; Collage; Elememtary education; Jak se vidím já, jak mě vidí ostatní; "Us teachers"; 2018

O poeta brasileiro Max Martins (1926 2009), radicado em Belém (PA), produziu 48 diários entre 1982 e 1999, cadernos que fundem, por meio da colagem, sua criação poética à plástica, configurando um universo de apropriações de imagens verbais e não verbais que se ligam à palavra, na literatura, e aos eventos do cotidiano, nas representações plásticas. Na esteira do conteúdo dos diários em cópias facsímiladas, os capítulos desta tese abarcam as linhas de força Natureza, Amizade e Erotismo aplicando-se principalmente à análise e à interpretação das invenções plásticas resultantes dessa confluência. O estudo detido de Max Martins diarista, poeta e artista plástico revela a transfiguração de sua vida operada em seus registros dos dias, na poesia, em desenhos, pinturas e colagens / The Brazilian poet Max Martins (1926-2009), rooted in Belém (PA), produced 48 notebooks between 1982 and 1999. The notebooks merge, through collage, his poetic creations into visual images, setting up a universe of appropriations of verbal and non-verbal images that connect to the word, literature, and daily events. Following the content in facsimile copies of the notebooks, the chapters of this thesis cover the lines of strength: Nature, Friendship and Eroticism, applied mainly to the analysis and interpretation of plastic inventions resulting from this confluence. This study of Max Martins as diarist, poet, and artist reveals the transfiguration of his life produced in their record of the days, poetry, drawings, paintings and collages

De nos jours, l’industrie de la microélectronique cherche à développer des composants toujours plus performants tout en réduisant la consommation d’énergie. Les solutions planaires ayant atteint leurs limites, desstructures 3D furent développées afin d’empiler verticalement les circuits. Cela nécessite une parfaite maitrise des différents procédés d’assemblage au sein desquels le collage direct de couches minces d’oxyde de silicium déposées par PECVD constitue une alternative intéressante en ce sens qu’elle permet l’élaboration à basse température de structures intégrant des couches isolantes composées d’oxyde de silicium.Le collage direct d’oxyde de silicium obtenu par voie thermique fut largement étudié par le passé. Cependant, l’utilisation d’oxyde de silicium obtenu par voie de dépôt PECVD fut jusqu’ici peu répandu dans les structures collées. L’objet de notre étude fut d’évaluer les particularités de l’oxyde de silicium déposé dans le cadre du collage direct ainsi que les mécanismes spécifiques mis en jeu lors du scellement de l’interface de collage. Le collage direct s’effectuant par la mise en contact de ces surfaces à température ambiante, puis étant généralement suivi d’un recuit de consolidation, des mécanismes particuliers auront lieu dans le volume de l’oxyde ainsi qu’à l’interface de collage permettant de différencier le comportement des oxydes déposés en collage.Dans cette étude, nous avons assemblés différentes configurations d’oxydes et montré l’influence primordiale de l’eau sur le collage direct. Il est apparu que, dès la température ambiante, cette dernière impactait déjà le collage en modifiant les propriétés physicochimiques et mécaniques de la subsurface de l’oxyde. A plus haute température, l’eau migre du volume de l’oxyde vers l’interface de collage permettant la fermeture de l’interface de collage en exacerbant les propriétés de l’oxyde précités. L’eau résultant de la fermeture de l’interface de collage est alors soit stockée à l’intérieur de cavités se formant à l’interface de collage, soit évacuée dans la subsurface de l’oxyde suivant la typologie de celui-ci. Il a également été montré que l’oxydedéposé disposait d’un profil de concentration d’eau relativement équilibré et qu’il pouvait contenir une quantité importante d’eau. Ces constations ont permis l’élaboration de structures bicouches optimisées pour le collage direct. La compréhension de ces différents mécanismes apporte un nouvel éclairage dans l’utilisation des procédés de collage direct pour les applications du futur. / Nowadays, the microelectronics industry is seeking to develop ever more efficient components while reducing energy consumption. Planar solutions having reached their limits, 3D structures were developed to vertically stack the circuits. This requires a perfect control of the different assembly processes in which the direct bonding of thin layers of silicon oxide deposited by PECVD constitutes an interesting alternative in the sense that it allows the elaboration at low temperature of structures integrating insulating layers composed of silicon oxide.The direct bonding of silicon oxide obtained by thermal oxidation has been widely studied in the past. However, the use of deposited PECVD silicon oxides has not been so far widespread in bonded structures. The purpose of our study was to evaluate the particularities of the silicon oxide deposited in the direct bonding framework as well as the specific mechanisms involved during sealing of the bonding interface. Since direct bonding takes place by bringing these surfaces into contact at room temperature and then generally followed byconsolidation annealing, special mechanisms will take place in the oxide volume and at the bonding interface to differentiate the behaviour of the PECVD deposited silicon oxides in bonding.In this study, we assembled different oxide configurations and showed the primordial influence of water on direct bonding. It appeared that, from the ambient temperature, the water was already impacting the bonding by modifying the physicochemical and mechanical properties of the oxide subsurface. At higher temperatures, the water migrates from the oxide volume to the bonding interface allowing the closing of the bonding interfaceby exacerbating the above oxide properties. The water resulting from the closing of the bonding interface is then either stored inside cavities forming at the bonding interface or discharged into the oxide subsurface dependingon the type of oxide. It was also shown that the deposited oxide had a relatively balanced water concentration profile and could contain a significant amount of water. These findings have led to the development of two-layerstructures optimized for direct bonding. Understanding these different mechanisms provides new insights into the use of direct bonding processes for future applications.

The evaluation of the remodeling of soft biomaterial implants often involves surgical removal of the implant for subsequent histological assessment. This approach is very resource intensive, often destructive, and imposes practical limitations on how effectively these materials can be evaluated. Magnetic resonance imaging (MRI) has the potential to non-invasively monitor the remodeling of collagen sponges, specifically the biodegradation, cellular infiltration, extracellular matrix deposition and angiogenesis within the sponge. This project involves the development of an in vivo model system for the evaluation of collagen-sponge remodeling using MRI and conventional histological techniques. Collagen sponges made using insoluble bovine collagen, and subjected various crosslinking treatments, were implanted subcutaneously into rats. Changes in water T2 relaxations times, water apparent diffusion coefficients (ADC), and MRI contrast agent uptake/washout were collected using spin-echo and diffusion-weighted MRI pulse sequences. These measurements were compared with histological assessments of sponge remodeling. Regions of differential cellularity were distinguished using calculated T2 maps and confirmed by histology. Calculated ADC maps corroborated these results and showed a decreasing trend with increased tissue in-growth. Results from MRI-contrast-agent studies were consistent with the development of angiogenesis within the sponge over time. The MRI approach allows for longitudinal studies that significantly reduce the resources required to evaluate these materials as well as improves the quality of the statistical information obtained from these studies.

Lo-Fi vem de Low Fidelity, que em inglês significa baixa fidelidade. Na música, se transformou em linguagem sonora a partir da década de 1970, quando alguns artistas, buscando soluções econômicas para a autoprodução e independência em relação às gravadoras, passaram a utilizar gravadores caseiros para fazer seus próprios registros. A partir desse ato de libertação e experimentação, se obteve, por transbordamento, uma sonoridade ruidosa, crua, de baixa fidelidade de gravação. Mas, ao mesmo tempo, o ruído produzido por essa produção marginal engendrou cruzamentos autênticos e espontâneos que logo formaram uma paisagem sonora de grande vitalidade. De forma contrária, o Hi-fi, ou High-Fidelity, busca na alta-fidelidade a idealização e a perfeição do seu produto final que, uma vez ligado à indústria fonográfica e à alta tecnologia, tende a ser direcionado pelas lógicas do mercado. Pensado e produzido como objeto-fim, o fazer arquitetural contemporâneo vem se aproximando da gravação hi-fi: delimitado, ordenado por estratos, classificações e tipos que a definem como objeto-produto. Nessa lógica, a arquitetura torna-se imagem, espetáculo pronto para o consumo e descarte. Propõe-se, neste trabalho, uma inflexão, um deslocamento do pensar arquitetural a partir da aproximação metafórica acionada pelo modo lo-fi . / Lo-Fi is the acronym that stands for Low Fidelity. In the music industry, during the70’s it became a trendy language when artists, searching economical solutions for self-production and independence from record companies, using homemade devices for sound recording. Following this first experiment of liberation, was obtained a noisy overflowing sonority, raw, or as it became known, low fidelity of the recording. However, at the same time the noise produced by this marginal production created an authentic and spontaneous blend that soon formed a vivid sound scene. Contrariwise the Hi-fi, or High Fidelity, seeks the idealization of perfection as its final product which, once merged to the phonographic industry and the high technology, tends to be driven by the logic of the market. Thought and produced as a final product, contemporary architecture follows the steps of the hi-fi recording: delimited, ordered in layers, classifications and by stereotypes that define it as an object-product. In this logic, architecture becomes an image, a spectacle ready for consumption and disposal. This work proposes an inflexion, a displacement on the architectural thinking from the metaphorical approach triggered by the lo-fi mode. Flaws by noise, by experimentation, by the potency of invention leads to a turning point in the making process, broader, returning to the idea of the unfinished, unexpectedly, guiding into a process that its meaning is not in the final product, but rather in the path itself, in the desire for transformation, in the unknown. Reflecting about the process as lo-fi music evokes is returning to the initial sketch, it is decomposing and questioning its nature, it is exposing the traces. It is bringing back the architecture in the sense of discovery, as a body in experimentation, as the surprise that reveals the unforeseen crossing of distinct times. The intention here is, based from speculative narratives, to try the deconstruct of some consolidated practices on the design process catalyzed by the music action. Pointing analogous approximations and representations of other architectural assemblies that are not represented by the narratives determined and exhausted by the logic of the market.

Esta dissertação realiza uma pesquisa em artes visuais, na área de poéticas visuais e, como tal, a produção artística da autora é o ponto de partida. Os procedimentos empregados na construção dos trabalhos são revisitados, procurando compreender o processo de trabalho, as referências mais recorrentes (como documentos de trabalho) e suas implicações conceituais. O objeto de estudo desta pesquisa refere-se a espessura, física e conceitual, de imagens instauradas a partir da acumulação e sobreposição de fragmentos capturados. A pesquisa desencadeou reflexões acerca da apropriação e a conseqüente formação de uma coleção; a reordenação de fragmentos, a sobreposição e o apagamento como conceitos operatórios; e a imagem construída em camadas. / This dissertation performs a research in visual arts, in the area of visual poetics, as such, the artistic production of the author is the starting point. The procedures used in the construction of the works are revisited, seeking to understand the work process, the most recurring references (such as working documents) and its conceptual implications. The object of this research refers to the thickness, physical and conceptual, of images produced from the accumulation and overlapping of captured fragments. The research triggered discussions about appropriation and the consequent formation of a collection; the reordering of fragments, overlapping and erasure as operational concept; and the image built in layers.