Micro-Electro-Mechanical Systems (MEMS) micromirrors have been developed for more than two decades along with the development of MEMS technology. They have been used into many application fields: optical switches, digital light projector (DLP), adoptive optics (AO), high definition (HD) display, barcode reader, endoscopic optical coherence tomography (OCT) and confocal microscope, and so on. Especially, MEMS mirrors applied into endoscopic OCT and confocal microscope are the intensive research field. Various actuation mechanisms, such as electrostatic, electromagnetic, electro bimorph thermal, electrowetting, piezoelectric (PZT) and hybrid actuators, are adopted by different types of micromirrors. Among these actuators, the electrostatic is easily understood and simple to realize, therefore, it is broadly adopted by a large number of micromirrors. This thesis reports the design, fabrication, and characterization of a 2-D Silicon-on-insulation (SOI) MEMS micromirror with sidewall (SW) electrodes for endoscopic OCT or confocal microscope imaging. The biaxial MEMS mirror with SW electrodes is actuated by electrostatic actuators. The dimension of mirror plate is 1000micron×1000micron, with a thickness of a 35micron. The analytical modeling of SW electrodes, fabrication process, and performance characteristics are described. In comparison to traditional electrostatic actuators, parallel-plate and comb-drive, SW electrodes combined with bottom electrodes achieve a large tilt angle under a low drive voltage that the comb-drive does and possess fairly simple fabrication process same as that of the parallel-plate. A new fabrication process based on SOI wafer, hybrid bulk/surface micromachined technology, and a high-aspect-ratio shadow mask is presented. Moreover, the fabrication process is successfully extended to fabricate 2×2 and 4×4 micromirror arrays. Finally, a biaxial MEMS mirror with SW electrodes was used into Confocal MACROscope for imaging. Studied optical requirements in terms of two optical configurations and frequency optimization of the micromirror, the biaxial MEMS mirror replaces the galvo-scanner and improves the MACROscope. Meanwhile, a new Micromirror-based Laser Scanning Microscope system is presented and allows 2D images to be acquired and displayed.

Fabrication of ordered anodic alumina nanopore arrays and anodization parameters including electrolyte, concentration, voltage, temperature and time have been investigated. Cobalt nanoparticles were electrodeposited at the bottom of the pores. Vertically aligned, open-tipped multi-walled carbon nanotube arrays of high density and uniformity were synthesized via a flame method on silicon substrates using a nanoporous template of anodized aluminum oxide. The diameter and length of the nanotubes are controlled by the geometry of the aluminum oxide template. It is the cobalt catalyst particles, not the porous aluminum templates, help the growth of carbon nanotubes through graphitization and bonding of carbon nanotubes to the silicon substrates. Fabrication of nano-structures has been demonstrated. Nano-trenches of 20 nm have been achieved using single-walled nanotube bundles as shadow masks, which were aligned across electrodes under high frequency AC voltage.

My thesis exhibition, ‘A PART OF THE WHOLE,’ explores self-portraiture by assembling paintings of close-up images of my skin from underappreciated body parts. I paint the textures of my hands and feet as evidence of artistic labor striving for the continuation of artistic creativity. The thesis exhibition includes conventional paintings assembled paintings, installations, and items from the studio. The easels serve two purposes: presenting the paintings and functioning as metaphorical backbone supporting skin paintings. Lastly, a cast of my own face serves as a death mask that functions as an authentic seal of artistic authorship for my thesis exhibition.

Mask Projection micro Stereolithography (MPuSLA) is an additive manufacturing process used to build physical components out of a photopolymer resin. Existing MPuSLA technology cut the CAD model of part into slices by horizontal planes and the slices are stored as bitmaps. A layer corresponding to the shape of each bitmap gets cured. This layer is coated with a fresh layer of resin by lowering the Z-stage inside a vat holding the resin and the next layer is cured on top of it. In our Thick-film MPuSLA(TfMPuSLA) system, incident radiation, patterned by a dynamic mask, passes through a fixed transparent substrate to cure photopolymer resin. The existing MPuSLA fabrication models can work only for controlling the lateral dimension, without any control over the thickness of the cured part. The proposed process plan controls both the lateral dimensions and the thickness of profile of the cured part. In this thesis, a novel process planning for TfMPuSLA method is developed, to fabricate films on fixed flat substrate. The process of curing a part using this system is analytically modeled as the column cure model. It is different from the conventional process - layer cure model. Column means that a CAD model of part is discretized into vertical columns instead of being sliced into horizontal layers, and all columns get cured simultaneously till the desired heights. The process planning system is modularized into geometrical, chemical, optical, mathematical and physical modules and validated by curing test parts on our system. The thesis formulates a feasible process planning method, providing a strong basis for continued investigation of MPuSLA technology in microfabrication, such as micro lens fabrication.

Fundação Cearense de Apoio ao Desenvolvimento Cientifico e Tecnológico / O objetivo desta tese é o de propor uma via de interpretação e significação possível ao problema ético-estético ou ético-poiētico da criação de si a partir da formulação de um conceito de hipocrisia. A partir de um espectro de análises acerca das práticas de engano, compõe-se um cenário inicial na forma de prolegômenos, nos quais se esboça uma distinção entre hipocrisia e autoengano, sob dois registros: formal, com a distinção de perspectivas entre enganar e ser enganado, com base no reconhecimento do engano; e processual, onde a hipocrisia, como incorporação intencional de personagens, distingue-se do autoengano como processo não reconhecido de incorporação de crenças. O primeiro capítulo dedica-se a compreender como as práticas de engano e a hipocrisia vêm a se tornar um problema moral. Remontando o problema aos gregos, abrem-se, para além dessa condenação, vias para uma reavaliação das formas de inteligência astuciosa nomeada por mêtis. No segundo capítulo, procura-se elaborar um conceito de hipocrisia como significação ao problema ético e estético da criação de si. A oposição entre as formas éticas da amizade e da lisonja, tendo em comum a atenção ao kairós, o tempo oportuno, é o mote para se pensar duas formas de discurso: o retórico, comandado pela mêtis, e o filosófico, pautado pela parrēsía; e para se propor uma forma de cuidado de si distinta da que é constituída pelo discurso parrēsiástico e vertida em ḗthos pela áskēsis. Tal seria a criação de si pela atenção aos acasos e instintos e teria como modelo o trabalho de incorporação e manejo artístico próprio à arte do ator. Daí emerge o conceito de hipocrisia como: arte de interpretar um saber da dóxa pela mestria do kairós, e de configurá-lo pela mímēsis de modo a criar a si como autor e obra de si mesmo. No terceiro capítulo, com enfoque interpretativo, toma-se esse conceito de hipocrisia como fio condutor para uma articulação entre três aspectos do pensamento de Nietzsche: i) a compreensão extramoral acerca das práticas de engano, tendo a vontade de aparência como aquilo que lhes subjaz; ii) a perspectiva epistêmica de processos sem sujeito, tendo as noções de máscara e interpretação como mote para se pensar a hipocrisia como um manuseio ou manejo artístico visando à criação de um eu hipócrita; e iii) a proposta ético-estética de criação de si e constituição de um caráter, onde a hipocrisia poderia ser compreendida como uma ética-estética do espírito livre, que pela incessante troca de papéis, cria a si como obra de arte e se torna o que é. / The aim of this thesis is to propose a way of interpreting and a possible meaning to the ethical-aesthetical or ethical- poiēthical problem of self-creating by formulating a concept of hypocrisy. From a spectrum of analysis about the deceiting practices, it is built an initial scenario in the form of prolegomena, which outlines a distinction between hypocrisy and self-deception, under two biases: formal, with the distinction of perspectives between deceiving and being deceived, based on the recognition of the deceiving; and processual, where the hypocrisy, as an intentional incorporation of characters, stands of self-deceiving, as an unrecognized process of incorporating beliefs. The first chapter is dedicated to understanding how the practice of deceit and hypocrisy happen to become moral issues. Dating back the problem to the Greeks, beyond that condemnation, it is opened pathways to a reassessment of the forms of cunning intelligence named mêtis. The second chapter aims at drawing up a concept of hypocrisy as a meaning to the ethical-aesthetical problem of self-creation. The opposition between the ethical forms of: friendship and flattery, having in common the attention to kairós, the right time, is the motto to consider two forms of discourse: the rhetorical, ruled by mêtis, and the philosophical, guided by parrēsía; and to propose a kind of care of the self, distinct from that which is constituted by the parrēsiástic speech and poured into ḗthos by the áskēsis. That would be the self-creation by attempting to hazards and instincts, and it would have the work of incorporation and artistic handling due to the art of the actor as reference. Here emerges the concept of hypocrisy as the art of interpreting a knowledgement from dóxa by the mastery of kairós, and setting it by mímēsis in order to creat itself as author and piece of art of self. In the third chapter, in an interpretive approach, that concept is token as leitmotif for a linkage between three aspects of Nietzsches thought: i) the extramoral understanding about deceiving practices, having the will to appearing what underlies them; ii) the epistemic perspective of processes without subject, taking the concepts of mask and interpretation to consider hypocrisy as an artistic handling aiming at creating a hypocrite self; and iii) the ethical-aesthetical proposal of self-creating and establishment of a character, where the hypocrisy could be understood as an ethics-aesthetics of the free spirit, which by the incessant changing of roles, creates itself as a piece of art and becomes what he is.

Fundação Cearense de Apoio ao Desenvolvimento Cientifico e Tecnológico / O objetivo desta tese é o de propor uma via de interpretação e significação possível ao problema ético-estético ou ético-poiētico da criação de si a partir da formulação de um conceito de hipocrisia. A partir de um espectro de análises acerca das práticas de engano, compõe-se um cenário inicial na forma de prolegômenos, nos quais se esboça uma distinção entre hipocrisia e autoengano, sob dois registros: formal, com a distinção de perspectivas entre enganar e ser enganado, com base no reconhecimento do engano; e processual, onde a hipocrisia, como incorporação intencional de personagens, distingue-se do autoengano como processo não reconhecido de incorporação de crenças. O primeiro capítulo dedica-se a compreender como as práticas de engano e a hipocrisia vêm a se tornar um problema moral. Remontando o problema aos gregos, abrem-se, para além dessa condenação, vias para uma reavaliação das formas de inteligência astuciosa nomeada por mêtis. No segundo capítulo, procura-se elaborar um conceito de hipocrisia como significação ao problema ético e estético da criação de si. A oposição entre as formas éticas da amizade e da lisonja, tendo em comum a atenção ao kairós, o tempo oportuno, é o mote para se pensar duas formas de discurso: o retórico, comandado pela mêtis, e o filosófico, pautado pela parrēsía; e para se propor uma forma de cuidado de si distinta da que é constituída pelo discurso parrēsiástico e vertida em ḗthos pela áskēsis. Tal seria a criação de si pela atenção aos acasos e instintos e teria como modelo o trabalho de incorporação e manejo artístico próprio à arte do ator. Daí emerge o conceito de hipocrisia como: arte de interpretar um saber da dóxa pela mestria do kairós, e de configurá-lo pela mímēsis de modo a criar a si como autor e obra de si mesmo. No terceiro capítulo, com enfoque interpretativo, toma-se esse conceito de hipocrisia como fio condutor para uma articulação entre três aspectos do pensamento de Nietzsche: i) a compreensão extramoral acerca das práticas de engano, tendo a vontade de aparência como aquilo que lhes subjaz; ii) a perspectiva epistêmica de processos sem sujeito, tendo as noções de máscara e interpretação como mote para se pensar a hipocrisia como um manuseio ou manejo artístico visando à criação de um eu hipócrita; e iii) a proposta ético-estética de criação de si e constituição de um caráter, onde a hipocrisia poderia ser compreendida como uma ética-estética do espírito livre, que pela incessante troca de papéis, cria a si como obra de arte e se torna o que é. / The aim of this thesis is to propose a way of interpreting and a possible meaning to the ethical-aesthetical or ethical- poiēthical problem of self-creating by formulating a concept of hypocrisy. From a spectrum of analysis about the deceiting practices, it is built an initial scenario in the form of prolegomena, which outlines a distinction between hypocrisy and self-deception, under two biases: formal, with the distinction of perspectives between deceiving and being deceived, based on the recognition of the deceiving; and processual, where the hypocrisy, as an intentional incorporation of characters, stands of self-deceiving, as an unrecognized process of incorporating beliefs. The first chapter is dedicated to understanding how the practice of deceit and hypocrisy happen to become moral issues. Dating back the problem to the Greeks, beyond that condemnation, it is opened pathways to a reassessment of the forms of cunning intelligence named mêtis. The second chapter aims at drawing up a concept of hypocrisy as a meaning to the ethical-aesthetical problem of self-creation. The opposition between the ethical forms of: friendship and flattery, having in common the attention to kairós, the right time, is the motto to consider two forms of discourse: the rhetorical, ruled by mêtis, and the philosophical, guided by parrēsía; and to propose a kind of care of the self, distinct from that which is constituted by the parrēsiástic speech and poured into ḗthos by the áskēsis. That would be the self-creation by attempting to hazards and instincts, and it would have the work of incorporation and artistic handling due to the art of the actor as reference. Here emerges the concept of hypocrisy as the art of interpreting a knowledgement from dóxa by the mastery of kairós, and setting it by mímēsis in order to creat itself as author and piece of art of self. In the third chapter, in an interpretive approach, that concept is token as leitmotif for a linkage between three aspects of Nietzsches thought: i) the extramoral understanding about deceiving practices, having the will to appearing what underlies them; ii) the epistemic perspective of processes without subject, taking the concepts of mask and interpretation to consider hypocrisy as an artistic handling aiming at creating a hypocrite self; and iii) the ethical-aesthetical proposal of self-creating and establishment of a character, where the hypocrisy could be understood as an ethics-aesthetics of the free spirit, which by the incessant changing of roles, creates itself as a piece of art and becomes what he is.

Ce travail de recherche propose d’explorer différentes scènes thérapeutiques (psychodrame, psychothérapie en institution, médiation thérapeutique basée sur la confection et la mise en scène de masques et expression corporelle) pour décliner le travail du négatif – du pôle oppositionnel jusqu’au vide de représentation- et ses conséquences sur le processus adolescent. Il sera supposé que l’accueil des mouvements négatifs, destructeurs, informes ou marqués par la béance, des adolescents et leur élaboration à travers la matière, le corps et le processus de création permet de soutenir le processus de subjectivation. Seront abordés le remaniement identificatoire, l’appropriation subjective qui passe par le corps et l’analyse du contre-transfert en vue de mieux saisir la problématique adolescente lorsque le thérapeute se constitue comme médium malléable. En référence au négatif photographique retrouvé chez Freud et chez Anzieu, une attention sera portée à la modélisation des enveloppes psychiques et au destin des pulsions, notamment dans l’attachement au négatif. Le travail du négatif sera analysé à partir de la matrice proposée par Winnicott et reprise par Roussillon : destructivité, réflexivité, créativité et subjectivation. Trois figures potentielles du négatif s’incarneront dans le masque, la destructivité et l’obésité. Il sera également question du double dans les identifications et la considération de l’axe narcissico-objectal théorisé par Jeammet pour mieux saisir les enjeux intrapersonnels et intersubjectifs. La dimension groupale sera aussi analysée dons son rapport à la négativité. / This research proposes to explore different therapeutic scenes (psychodrama, institutional psychotherapy, therapeutic mediations based on the making / staging of masks and body expression) in order to analyse the work of the Negative – from the oppositional pole to the absence of representation (blankness) and its consequences on the Adolescent Process. It will be assumed that being receptive to adolescents’ negative, destructive movements as well as to formlessness or blankness expressions enables the therapist, through their elaboration via the process of creation, to support and accompany the process of subjectivation. We will address the identificatory reorganisation, the subjective appropriation which pass through the body and the analysis of the countertransference in order to better understand the adolescent problem when the therapist is in the position of a malleable medium. In reference to the photographic negative found in Freud and Anzieu’s work, attention will be paid to the modelling of psychic envelopes together with the destiny of the drives, more precisely in the attachment to the Negative. The work of the Negative will be analysed according to the frame proposed by Winnicott and taken up by Roussillon : Destructivity, Reflexivity, Creativity and Subjectivation. Three potential figures of the Negative will be embodied in the mask , destructivity and obesity. In order to better grasp the intrapersonal and intersubjective issues at stake, we will also consider the Figure of the Double in the identifications as well as the narcissistic-objectal axis as it was theorized by Jeammet. The groupal dimension will also be analysed in relation to Negativity.

Made available in DSpace on 2015-04-11T13:41:46Z (GMT). No. of bitstreams: 1 Agenor Cavalcanti de Vasconcelos Neto.pdf: 591335 bytes, checksum: 94a4c23436a92e723b113b909295781b (MD5) Previous issue date: 2012-12-07 / FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas / A descrição do etnógrafo Koch-Grünberg, na obra Dois anos entre os indígenas, foi nosso objeto primário. Investigamos a narrativa do ritual de danças e máscaras contida na obra com vistas a compreender como a máscara articula as relações simbólicas que estão presentes no ritual e que são representadas na literatura estudada. Nesse contexto, a máscara é tomada como um dado que confirma a existência da crença em um mundo metafísico, funcionando como porta de entrada para a abordagem do autor acerca da cultura imaterial dos grupos representados. Problematizando o método neo-kantiano adotado por Koch-Grünberg, respondemos à seguinte questão: quais são os termos e operações que o antropólogo utilizou para representar o mundo segundo a ordem ritual dos indígenas visitados? Com o auxílio da filosofia de Nietzsche, questionamos esse encontro da ciência alemã e da religião dos indígenas do alto rio Negro no início do século XX

O trabalho apresenta algumas das iniciativas para a retomada da máscara no teatro moderno. No amplo quadro da primeira metade do século XX, escolhemos quatro principais artistas que abordaram esse objeto: Gordon Craig, Meyerhold, Jacques Copeau e Jacques Lecoq. Nestes a máscara não é apenas mais um elemento colocado em cena, mas também um princípio organizador da teatralidade que almejam. Através de seus trabalhos analisamos algumas características da máscara que podem ser reelaboradas no teatro contemporâneo. Em Gordon Craig, abordamos as primeiras proposições dentro do teatro simbolista, além do panorama da máscara no início do século XX; através de Meyerhold, pudemos traçar os elementos grotescos contidos na máscara; com Jacques Copeau, questionamos os conceitos de caráter e de tipo e, através da pedagogia de Jacques Lecoq, pudemos analisar o trabalho da máscara como signo representativo. A partir dos elementos abordados, apontamos uma proposição de trabalho com a máscara que procura aproximá-la do conceito de figura. / This study presents some of the initiatives to reinstate the mask in modern theatre. In the vast spectrum of the first half of the Twentieth Century, I chose four key artists who elaborated this object: Gordon Craig, Meyerhold, Jacques Copeau and Jacques Lecoq. In the work of these artists, the mask is not one scenic element among others, but becomes the organizing keystone for the theatricality that they seek. Through their creations we can analyze some of the mask´s features that are being reelaborated in contemporary theatre. In Gordon Craig, we examine initial propositions within the symbolist theatre, placing this in a panorama of the mask at the beginning of the Twentieth Century; with Meyerhold, one can trace the grotesque elements contained in the mask; in Jacques Copeau, the focus moves to the concepts of character and type, and finally, in Jacques Lecoqs pedagogy, one can probe the mask as representational sign. From the foregoing elements, we outline an operational proposal which aims to approximate the mask to the concept of figure.

A presente pesquisa pretende examinar as possibilidades estéticas e subjetivas inerentes a máscaras pós-humanas. A fim de analisar a abordagem artística da face, selecionamos algumas obras de Lygia Clark, Hyungkoo Lee, France Cadet e Sterling Crispin para estudos de caso. Estes, destacados nos capítulos um, dois, três e quatro, nos permitem analisar de forma detalhada, trabalhos que esclarecem indutivamente a dinâmica da situação investigada. Em diálogo com os estudos de caso, é conduzida pesquisa de laboratório em que a face é também elaborada como máscara artística no âmbito da produção da pesquisadora, criada a partir da confluência entre meios artesanais, de produção de massa e meios digitais, ao gerar modelos tridimensionais e sua consequente representação física por meio da fabricação digital. Agrupamos as obras de acordo com vínculos aos procedimentos artísticos de recriação, dissimulação e simulação. Determinados assuntos surgidos das análises das obras ganharam embasamento teórico por meio de tópicos conceituais que discutem aspectos estéticos e subjetivos. Para a realização do estudo, desenvolvemos pesquisa bibliográfica, estudo de caso das obras dos artistas selecionados, pesquisa em laboratório e participações em congressos e mostras ligadas à Arte Tecnológica. Os resultados subjetivos e perceptivos da manipulação da face na arte tecnológica refletem o questionamento acerca da construção de singularidades e as transformações na concepção de ser humano. Assim, intenciona-se contribuir com o meio acadêmico, a sociedade e as artes na discussão sobre as subjetividades emergentes em contexto tecnológico. / This research intends to examine the aesthetic and subjective possibilities inherent to posthuman masks. In order to analyze the artistic approach of the face, we selected some works by Lygia Clark, Hyungkoo Lee, France Cadet and Sterling Crispin for case studies. These, highlighted in chapters one, two, three and four, allow us to analyze in detail works that clarify inductively the dynamics of the situation investigated. In dialogue with the case studies a laboratory research is conducted where the face is also fabricated as an artistic mask within the scope of the researcher\'s production, created from the confluence of artisanal, mass production and digital media, generating three-dimensional models and its consequent physical representation through digital fabrication. We grouped the works in accordance with the artistic procedures of recreation, dissimulation and simulation. Certain issues arising from the analysis of the works have gained theoretical basis through conceptual topics that discuss aesthetic and subjective aspects. For the study, we developed bibliographic research, case study of the works of selected artists, laboratory research and participation in congresses and exhibitions related to Technological Art. The subjective and perceptive results of the manipulation of the face in the technological art reflect the questioning about the construction of singularities and the changes in the concept of human being. Thus, it intends to contribute to academia, society and the arts in the discussion about emerging subjectivities in technological context.