Orientador: Luise Weiss / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T23:16:06Z (GMT). No. of bitstreams: 1 MoreiraJunior_MarioFiore_D.pdf: 2416648 bytes, checksum: ed4ce7827abc95cc8126dd19e16ccaa6 (MD5) Previous issue date: 2009 / Resumo: O projeto artístico "A Construção de uma Paisagem" se constitui de dois núcleos importantes: Locus Amoenus e Mapas Imaginários. Seu fio condutor é a pintura. O desenho, a gravura, a colagem, e a fotografia enriqueceram o corpo do trabalho com a expressividade específica de suas linguagens. O texto descreve quais foram os antecedentes e as experiências com a imagem que contribuíram para o processo criativo e as características relativas à linguagem pictórica que se esdobraram em obras recentes. Reflete sobre a adoção de estratégias visuais e seu rebatimento poético na criação pictórica. / Abstract: There are two important nuclei in the art project "The construction of a Landscape": Locus Amoenus and Imaginary Maps. Painting is their guideline. Drawing, engraving, collage and photography have enriched the body of work with the expressiveness of their specific languages. The text describes which were the former elements and image experiences that have contributed to the creative process and it also describes the procedures related to painterly that have unfolded in recent works. It is a reflection on the adoption of visual strategies and their poetic influence on painterly. / Doutorado / Doutor em Artes

FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / O objetivo principal desse trabalho à a obtenÃÃo de novos reticulados atravÃs de uma tÃcnica elementar por colagem. Para reticulados quaisquer A e B de dimensÃes n e m respectivamente, esta tÃcnica nos permite a obtenÃÃo de um outro reticulado (n + m − 1) -dimensional. Dado dois reticulados A e B de dimensÃes n ≥ 2 e m ≥ 2 respectivamente, contendo o reticulado Λ2, nos permite a obtenÃÃo de um novo reticulado (n + m − 2) -dimensional. Em particular, dado um reticulado n - dimensional H , com densidade de centro δ , nos permite explicitamente a obtenÃÃo de um novo reticulado (n+1) - dimensional H ′, com densidade de centro δ /√3. AtravÃs deste mÃtodo, novos reticulados sÃo encontrados e analisaremos alguns de seus parÃmetros principais, como o volume, a distÃncia mÃnima, a quantidade de vetores de comprimento mÃnimo e a densidade de centro. / The main objective of this work is to obtain new lattices through an elementary technique of collage. For any lattices A and B of dimension n and m respectively, this technique allows us to obtain a other lattice (n+m−1) - dimensional. Given two lattices A and B of dimension n ≥ 2 and m ≥ 2 respectively, with an a lattice Λ2, this technique allows us to obtain a new lattice (n+m−2) - dimensional. In particular, given one lattice n - dimensional H , with center density δ , this technique allows us to explicitly obtain a new lattice (n+1) - dimensional H′, with center density δ/√3. Through this method, new lattices are found and will review some of its key parameters such as volume, the minimum distance, the number of vectors of minimum length and center the density.

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.

The main aim of this thesis is concerned with dream as an inspirational source and as specific state of mind. Theoretical part describes dream from psychological point of view but also dream ramifications on the art in the first half of the 20th century. The thesis describes not only an introduction of surrealism as a new art style in French and Czech countries, but also birth of new art techniques. The work also maps dream reports of Jindřich Štyrský and their depictions as an author's primary source of imagination. Didactic part includes a survey aimed at sixth grader's dreams and didactic project consists of four painting tasks. Each task thematically follows specific parts of theoretical chapter. Practical part naturally results from dream-theme's ideas and is composed of two objects based on inspirations from dream. KEYWORDS Dream, dream diary, surrealism, Frottage, college, Jindřich Štyrský

La mixité bois-béton est une solution intéressante dans le domaine des ouvrages d'art pour la réalisation de ponts, et dans le domaine du bâtiment dans la confection de planchers mixtes bois-béton. Le laboratoire Navier travaille depuis plusieurs années au développement du procédé par collage appliqué aux structures mixtes bois-béton. En effet, cette technique d'assemblage permet d'assurer une connexion quasi-parfaite entre le bois et le béton, contrairement aux techniques d'assemblage usuelles (connecteurs métalliques). Des travaux antérieurs ont montré la bonne performance de structures mixtes collées bois-béton du point de vue de leur tenue mécanique en fatigue. Cependant la connexion par collage nécessite une étude complémentaire concernant la durabilité de l'assemblage collé bois-béton, en particulier lorsque la structure mixte est soumise à des conditions hygrométriques variables. Les travaux menés pendant la thèse ont pour objectifs de déterminer les facteurs qui influent sur la tenue de ces assemblages collés sous chargement hydrique ; ils se divisent en 3 parties :-Deux parties expérimentales :(1)Des tests de cisaillement « Push-Out », en collaboration avec le Laboratoire Départemental d'Autun, ont permis d'évaluer l'effet des propriétés élastiques de l'adhésif sur la tenue en cisaillement de l'assemblage. L'objet de cette étude expérimentale est de valider un choix de colle pour ce type d'assemblage, prenant en compte un vieillissement hydrique, en se basant sur la capacité maximale atteinte en cisaillement, et le mode de rupture de l'assemblage. (2)Parallèlement aux tests de cisaillement, l'effet de chargements hydriques sur la tenue d'assemblages collés bois-béton a été étudié. L'analyse du comportement hydrique de la structure a été réalisée par la technique de corrélation d'image (DIC) sur des assemblages bois-béton collé de petite taille. Ces mesures de déformations locales ont permis de localiser des zones d'endommagement liées notamment aux déformations hydriques du bois empêchées par l'interface collée. Les effets des propriétés élastiques de l'adhésif, de la géométrie du bois (notamment sa structure et le sens des cernes par rapport au plan de collage) ainsi que du comportement mécanique du matériau cimentaire ont été étudiés.- Une partie numérique :(3) Un modèle numérique par éléments finis a été validé en comparant les résultats numériques aux cartes de déformation obtenues expérimentalement. L'analyse numérique a permis de quantifier les contraintes induites au niveau de l'interface en relation avec les déformations hydriques empêchées par l'interface collée et de prévoir le comportement à l'échelle 1 de structures mixtes. Ces différentes investigations ont permis de proposer des solutions optimisant ce type de connexion et de définir des conditions de mise en œuvre et d'utilisation de ces assemblages / The wood-concrete composite is an interesting solution in the field of Civil Engineering to create high performance bending elements for bridge, as well as in the building construction for the design of wood-concrete floor systems. The Navier laboratory has been working for many years on the development of the bonding process as applied to wood-concrete composite structures. Contrary to conventional joining connectors (metal connectors), this assembling technique does ensure an almost perfect connection between wood and concrete. Previous work has already shown good performances of glued wood-concrete composite structures in terms of mechanical fatigue. However, the bonding connection requires additional research on the long-term behaviour of glued wood-concrete composites, especially when this structure is subjected to variable hygrometric conditions. The work undertaken during this thesis aims at determining the factors which induce damages on these glued wood-concrete assemblies under hygrometric loading; the research is divided into 3 parts:-Two experimental parts:(1)"Push-Out" shear tests conducted in collaboration with the Departmental Laboratory of Autun, were used to assess the effect of the elastic properties of the resin on the shear strength of the assembly. This experimental study aims at validating the adhesive of choice for this kind of connection, taking into account ageing under variable hygrometric conditions. Analysis is based on maximum shear capacity and on the failure mode of the assembly. (2)In addition to shear tests, the effect of hygrometric loading on the durability of glued wood concrete assemblies was examined. The analysis of the hydric behaviour of the structure was carried out by the digital image correlation (DIC) technique on small-sized glued wood-concrete assemblies. The measurements of the local deformations allowed us to locate areas of damage, particularly due to the hydric deformations of the wood prevented by the glued connection The effects of the elastic properties of the resin, the microstructure of the wood (including its structure and the direction of the annual rings) as well as the mechanical behaviour of the concrete material were examined.- A numerical part:(3) A numerical finite element model was validated by comparing the numerical results to the deformation maps experimentally obtained. Numerical analysis was used to quantify the stresses induced to the structure, in relation to hydric deformations prevented by glued connection. Moreover investigations at the full scale were conducted to evaluate the long-term behaviour under variable hygrometric conditions. These investigations were conducted in order to offer solutions aiming at optimizing this type of connection, and to define conditions for use of these glued assemblies

Cette thèse s’est déroulée dans le contexte de l’évaluation non destructive du collage de patches composites employés pour la réparation de structures aéronautiques. Le besoin a été exprimé par la DGA Techniques Aéronautiques (Toulouse). Le travail effectué a consisté en l’exploitation des ondes guidées, de type SH puis Lamb, pour mesurer des caractéristiques mécaniques d'un joint de colle et tenter d’évaluer, de manière non destructive, la qualité du collage. Dans un premier temps, les propriétés viscoélastiques des matériaux assemblés sont déterminées. Elles servent alors de données d’entrée à des modèles, basés sur la méthode SAFE (Semi Analytical Finite Element method), permettant d’obtenir les courbes de dispersion ainsi que les champs des différents modes guidés se propageant le long de l’assemblage collé. Ces simulations numériques permettent alors d’évaluer le potentiel des ondes guidées à caractériser un adhésif. Des mesures expérimentales sont ensuite menées pour confirmer les prédictions numériques. Finalement la résolution d’un problème inverse, qui consiste à évaluer les modules de rigidité de la couche de colle se situant entre une plaque d’aluminium et un patch, est proposée pour établir des pistes d’évaluation non destructive d’un collage répondant au besoin industriel. Cette étude a été financée par la DGA, France. / Repairing of metallic structures using composite patches bonded with an adhesive layer is more and more common in the aeronautic field, and particularly at DGA Techniques Aéronautiques. In order to guarantee the quality of this bond, the sensitivity of ultrasonic guided waves is investigated. Shear-horizontally polarized (SH) waves, and Lamb waves are investigated to infer the stiffness of the adhesive layer. The SAFE method is used to predict the dispersion curves and mode shapes of the different wave modes propagating along the three-layer assembly. Numerical simulations are run for selecting the most appropriate wave modes, i.e. with higher sensitivity to the stiffness of the bond than to other components properties. Experiments are also made for generating-detecting pre-selected SH or Lamb wave modes in order to confirm the numerical predictions. Finally the resolution of an inverse problem, consisting in the evaluation of the stiffness modulus of the bond layer between an aluminium plate and a carbon-epoxy composite patch, at different curing time, is proposed as a contribution to the establishment of possible strategies for bonds testing. This work was supported by DGA, France.

Dans cette thèse CIFRE nous avons élaboré une solution originale d’assemblage de cristaux optiques pour applications lasers avec les sociétés Cristal Laser et Oxxius. Nous avons ensuite optimisé notre composition de colle ainsi que le procédé d’encollage des cristaux avec la réalisation d’un robot par nos partenaires industriels. De nombreux tests d’assemblage ont été effectués avec des homo-assemblages de paires de cristaux de SiO2, Quartz, YAG, KTP, LBO, BBO et RTP. Ces homo-assemblages sont ensuite traités thermiquement pour stabiliser notre interface de colle et nos résultats sont satisfaisants. Nous avons également réalisé des hétéro-assemblages avec des paires de cristaux de nature différente parmi les cristaux précédemment étudiés comme YAG/Quartz ou SiO2/KTP. Les résultats que nous obtenons avec ces hétéro-composites semblent indiquer que le différentiel de CTE entre les pièces assemblée limite fortement le bon déroulement des traitements thermiques. Nous avons donc étudié le CTE ainsi que le comportement de notre interface de colle en fonction de la température afin de proposer une composition et un traitement adapté à la réalisation de ces hétéro-composites. / In this CIFRE thesis we elaborate a bonding solution, with Cristal Laser and Oxxius companies, for non-linear optical crystals for laser applications. We had to optimize solution’s composition and the bonding process, this resulted in the creation of a bonding robot by our industrial partners. Numerous homo-assemblies bonding tests has been realized with the following crystal pairs of SiO2, Quartz, YAG, KTP, LBO, BBO and RTP. Those homo-assemblies have been thermally treated to stabilize our bonding solution interface and we obtained relatively good results. We also bonded hetero-assemblies with different crystal pairs like YAG/Quartz or SiO2/KTP. The results we get with these hetero-composites suggest that the difference in CTE between the assembled parts greatly limits the smooth heat treatments. We therefore investigated the CTE and the behavior of our adhesive interface depending on the temperature to provide adapted composition and treatment to the realization of these hetero-composites.

The aim of the present work, "Archaeology of the found object", is to study and analyze what we know as "objet trouvé". In our way through Art History we will take a pause to see what avant-gardes from the twentieth century and which artists have recovered disused objects and have given them a second life by turning them into works of art. We will analyze their precedents to see how they could have influenced later artistic processes. This journey will inevitably lead us to the beginning of the small museums, and to think about what collectionism means. We will emphasize in the change of value of objects as they become works of art. Across examples of exhibitions of the last recent years and of museums devoted of hosting this type of collections, we will see how found objects are still being used currently for the elaboration of artistic discourses and works. All this will be done from a poetically archaeological look at findings that will conclude in a plastic proposal. An interdisciplinary research Through an almost detective process of that Umberto Eco called "abductive semiosis", our research will seek to elaborate a story, in order to include as an hypothesis the origin and the supposed purpose of an object or a fragment of a found object ¿as it happens in the logical mental process followed by Sherlock Holmes¿ we will see the reasons that have guided my decision to look for, not only the presence of three Ph. D. advisors, but fundamentally their different disciplinary approach, necessary to give coherence to the epistemological thread that sustains my own work. Being an interdisciplinary research I sought the help of three acquaintances specialists in the main topics that are developed in the dissertation. The archaeological and paleontological perspective that is in the basis of the process of looking for, finding, analyzing, and writing / creating from what has been found, that is present throughout the work, has taken as referent both the bibliography and the fieldwork of Professor in Paleontology Juan Luis Arsuaga. The rhetoric of painting as a way of understanding the discipline owes its intellectual position to the book Rhetoric of painting by Alberto Carrere and the director of this research, painter and painting Professor José Saborit. Finally, and to explain the object as a sign within Art History and the importance of the changes of value the contributions of the semiotician and Professor of Theory of Languages and Communication Jenaro Talens have been very important . The three disciplinary fields of my three advisors, articulated among them, have made possible the development of "Archaeology of the found object". / El objetivo del presente trabajo, "Arqueología del objeto encontrado", es estudiar y analizar en qué consiste lo que conocemos como "objet trouvé". Mediante un recorrido por la Historia del Arte nos detendremos para ver qué vanguardias del siglo XX y qué artistas han recuperado objetos en desuso y les han dado una segunda vida para convertirlos en obras de arte. Analizaremos sus precedentes para ver cómo han podido influir en los procesos artísticos posteriores. Este trayecto nos llevará inevitablemente al inicio de los pequeños museos, y a hacer una reflexión sobre lo que supone el coleccionismo. Se hará especial hincapié en el cambio de valor de los objetos al convertirse en obras de arte. A través de ejemplos de exposiciones de los últimos años y museos destinados a albergar colecciones de esta índole, veremos cómo en la actualidad se siguen empleando los objetos encontrados para la elaboración de discursos artísticos y obras. Todo esto se hará a partir de una mirada poéticamente arqueológica en cuanto a hallazgos se refiere que concluirá en una propuesta plástica. Una investigación interdisciplinar Mediante un proceso casi detectivesco de lo que Umberto Eco llamaba "semiosis abductiva" que busca, mediante la elaboración de un relato, que incluya como hipótesis el origen y supuesta finalidad de un objeto o fragmento de objeto encontrado ¿como sucede en el proceso lógico del pensamiento de Sherlock Holmes, veremos la razón que ha guiado, no sólo la presencia de tres directores de tesis, sino fundamentalmente su distinta adscripción disciplinar, necesaria para dar coherencia al hilo epistemológico que sustenta nuestra reflexión. Al tratarse de una investigación interdisciplinar busqué la ayuda de tres conocidos especialistas en los temas principales que se desarrollan en la tesis. La parte general de la mirada arqueológica y paleontológica que se le ha querido dar a la investigación y que forma parte de ese proceso de búsqueda, encuentro y análisis y escribir/crear a partir del hallazgo que, está presente a lo largo de todo el trabajo viene estudiada tras las lecturas que ha aportado tanto la bibliografía como el trabajo de campo del catedrático en Paleontología Juan Luis Arsuaga. La retórica de la pintura viene planteada como forma de entender esta disciplina a partir del libro Retórica de la pintura de Alberto Carrere y el director de esta tesis, pintor y catedrático de Pintura José Saborit. Finalmente, y para explicar el objeto como signo dentro de la Historia del Arte y la importancia de los cambios de valor han sido imprescindibles las aportaciones del semiótico y catedrático en Teoría de los lenguajes y Ciencias de la comunicación Jenaro Talens. Los tres campos disciplinares de mis directores, articulándose entre sí, han hecho posible el desarrollo de "Arqueología del objeto encontrado". / L'objectiu del present treball, "Arqueologia de l'objecte trobat", és estudiar i analitzar en què consisteix allò el que coneixem com "objet trouvé". Mitjançant un recorregut a través de la Història de l'Art ens aturarem per veure quines avantguardes del segle XX i quins artistes han recuperat objectes en desús i els han donat una segona vida per convertir-los en obres d'art. Analitzarem els seus precedents per veure com han pogut influir en els processos artístics posteriors. Aquest trajecte ens portarà inevitablement a l'inici dels petits museus, i a fer una reflexió sobre allò que suposa el col¿leccionisme. Es farà especial èmfasi en el canvi de valor dels objectes en convertir-se en obres d'art. A través d'exemples d'exposicions dels últims anys i museus destinats a albirar col¿leccions d'aquesta mena, veurem com en l'actualitat se segueixen emprant els objectes trobats per a l'elaboració de les obres i els discursos artístics. Tot això es farà a partir d'una mirada poèticament arqueològica pel que es refereix a troballes, que conclourà en una proposta plàstica. Una investigació interdisciplinària Mitjançant un procés gairebé detectivesc que Umberto Eco anomenava "semiosi abductiva", que cerca l'elaboració d'un relat, que incloga com a hipòtesi l'origen i suposada finalitat d'un objecte o fragment d'objecte trobat ¿com succeeix en el procés lògic del pensament de Sherlock Holmes¿; veurem la raó que ha guiat, no només la presència de tres directors de tesi, sinó fonamentalment la seua diferent adscripció disciplinar, necessària per donar coherència al fil epistemològic que sustenta la nostra reflexió. En tractar-se d'una investigació interdisciplinària vaig buscar l'ajuda de tres coneguts especialistes en els temes principals que es desenvolupen a la tesi. La part general de la mirada arqueològica i paleontològica que se li ha volgut donar a la investigació i que forma part d'aquest procés de recerca, trobada i anàlisi i escriure / crear a partir de la troballa, que està present al llarg de tot el treball ve estudiada després de les lectures que ha aportat tant la bibliografia com el treball de camp del catedràtic en Paleontologia Juan Luis Arsuaga. La retòrica de la pintura ve plantejada com a forma d'entendre aquesta disciplina a partir del llibre Retòrica de la pintura d'Alberto Carrere i el director d'aquesta tesi, pintor i catedràtic de Pintura José Saborit. Finalment, i per explicar l'objecte com a signe dins de la Història de l'Art i la importància dels canvis de valor han estat imprescindibles les aportacions del semiòtic i catedràtic en Teoria dels llenguatges i Ciències de la comunicació Jenaro Talens. Els tres camps disciplinaris dels meus directors, articulant-se entre si, han fet possible el desenvolupament de "Arqueologia de l'objecte trobat". / Alvar Beltrán, C. (2017). Arqueología del objeto encontrado [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/86150 / TESIS

This dissertation entitled Crystals Collector is concerned with the phenomenon of collecting, and more specifically with crystals as objectes in an imaginary collection. The objects are selected based on a personal fascination of the author. However, the collection always has, similarly as a crystal, a predetermined internal structure. The meaning of individual parts only become apparent when they are viewed as a whole. The main artefacts of the collection are paintings on canvas - with the painting becoming a similar 'fetish' as a collected crystal. Mineral it the key artefact and as such it is subjected to deeper examination (experiments with growth of crystals, studies of crystals, artefacts having a close relationship to crystals...).

La thèse étudie les mécanismes de collage des alliages d’aluminium sur les outils lors de leur mise en forme. Dans un premier temps une méthodologie expérimentale utilisant le banc d’essai USTest proposée. Elle permet de travailler en laboratoire en respectant des conditions de contact proches de celles rencontrées en industries. Une campagne d’essais est réalisée, sollicitant le matériau sous diverses conditions de pression de contact, de vitesse de glissement et de lubrification. Les analyses métallurgiques et mécaniques de cette campagne permettent d’établir un lien entre les conditions de contact d’une part et le transfert de matière sur les outils d’autre part. Un mécanisme d’apparition du collage de l’aluminium sur les outils en forge à froid est proposé. Dans un second temps l’aptitude à prédire l’apparition du collage aux outils des alliages d’aluminium lors de leur mise en forme à froid de quatre modèles d’endommagement et de rupture usuels est étudiée. Un ensemble de simulations numériques est mené pour quantifier l’influence des conditions de contact rencontrées lors des essais UST sur l’état d’endommagement des éprouvettes au voisinage de leur surface. Les résultats montrent que le coefficient de frottement seul n’est pas suffisant pour rendre en compte de la sévérité du tribosystème et qu’une approche multiéchelle est nécessaire pour simuler l’effet de la rugosité des outils sur l’apparition des premiers transferts de matière. De nombreuses perspectives sont également présentées pour améliorer la compréhension des phénomènes de collage et la modélisation numérique de ces phénomènes. / The thesis investigates the mechanisms of galling of aluminum alloys on tools during cold forming. First, an experimental methodology using the test bench UST is proposed. It enables the simulation in the laboratory of the conditions of contact similar to those encountered in industries. A series of trials is performed, testing the material in various conditions of contact pressures, sliding speeds and of lubrication. A link between the contact conditions on the one hand and mass transfer on the other hand tools is established and a mechanism of occurrence of adhesion of aluminum on cold forging tools is proposed. In a second step four damage and failure models are presented and their abilities to predict the onset of galling of aluminum are discussed. A set of finite element simulations is performed and compared to experimental results in order to quantify the influence of contact conditions on evolution of damage encountered in the vicinity of the specimen surface. The results show that a single coefficient of friction is not sufficient to model the severity of the tribosystem. A multi-scale approach is then proposed to simulate the effect of the roughness of the tools on the first step of material transfer. Many prospects are also presented to improve the understanding of the phenomena of bonding and numerical modeling of these phenomena.