Diplominis darbas susideda iš dviejų dalių: teorinio aprašo ir praktinio kūrybinio darbo.Teorinėje dalyje apžvelgiama asambliažo koncepcija, idėja, analogai. Aprašoma darbo eiga, priemonės, atlikimo technika.Kūrybinis darbas susideda iš trijų darbų kolekcijos. Kiekvienas darbas (130cm. x 130cm.) atliktas ant MDF - vidutinio tankio medienos plaušų plokštės, naudojant: popierinius rankšluosčius - „paloma“, universalius klijus - „lipalas“, gipsinį tinką - „knauf rotband“, aliejinius dažus.Kūrybinio darbo – asambliažo - kolekcijoje „Emigracija“ nagrinėjama problema – jaunų žmonių išvykimas svetur dėl ekonominių priežasčių. Žmonės dabar emigruoja dėl geresnio gyvenimo, nes, Lietuvoje leidžiama darbdaviams pasipelnyti iš darbo jėgos. Savo kūrybiniame darbe šią temą ar koncepciją interpretuoju simboliškai. Man svarbu pats žmonių „išnykimo“ faktas. Tai lyg „kryžiukų - nuliukų“ žaidimas. Tik neaišku kas žaidžia- manipuliuoja žmonėmis. / Diploma paper consists of two parts: theoretical description and practical creative job. In the theoretical part I discuss the conception, idea and analogs of assemblage. I explain also the course of the work, means, the technique of implementation. The craetive job consists of the collection of three works. Every work (130cm x 130cm) is implemented on MDF – average density fibreboard using paper towels, universal glue, gypsum plaster and oil color. In the creative work‘s collection „Emigration“ the problem of people leaving to other countries is analyzed. Now people emigrate due to expectations of better life, as, according to Rimas Armaitis,in Lithuania employers try to gain too much from their employees. However, in my creative work I analyze this theme symbolically. For me the fact of „disappearing“ people is most important. That is like the game of „crosses and nills“. Just it is not clear who plays and manipulates with people.

Le collage direct consiste en la mise en contact de deux surfaces suffisamment lisses et propres pour créer une adhérence entre-elles, et ce sans apport de matière à l'interface des matériaux. Ce procédé est réalisable à l'échelle industrielle et compatible avec les procédés de la microélectronique. Il trouve son principal intérêt dans la réalisation de substrats innovants. Le plus célèbre d'entre eux est le substrat SOI (pour " Silicon On Insulator "). Depuis quelques années, une nouvelle voie s'est ouverte dans le collage direct en l'élargissant au collage de couches métalliques ce qui permet de répondre à de nouvelles applications en offrant par exemple conduction électrique et dissipation thermique. Ce travail de thèse a pour objectif d'analyser le comportement du collage direct de couches métalliques et de poser les premiers éléments de modélisation. La compréhension de ces fondamentaux est indispensable pour optimiser le procédé et permettre une intégration de cette technologie dans un grand nombre de dispositifs. Dans cette étude, des procédés de collage direct de couches de tungstène et de titane ont été développés à la lumière des pré-requis établis pour le collage direct. La caractérisation physico-chimique des interfaces de collage et de leur évolution en température ont permis de mettre en évidence le rôle clé de l'oxyde métallique. Il est montré que les mécanismes de collage sont gouvernés par des phénomènes de diffusion aux joints de grains et par l'instabilité de la couche d'oxyde piégée à l'interface de collage. Par ailleurs, les propriétés mécaniques et électriques des interfaces ont été étudiées. Enfin, la compréhension du comportement des interfaces en fonction de certains paramètres conduit à quelques recommandations pour réussir l'intégration du collage direct métallique.

ATENCIÓ: el pes del fitxer txmm3de3.pdf és de 70 MBRESUM:El treball realitzat vol ser un anàlisi exhaustiu de l'efecte causat per l'aparició de la fotografia en la representació de l'arquitectura, la seva introducció en les presentacions dels projectes i l'ús del fotomuntatge. Amb el canvi de segle, del dinou al vint, la fotografia ja va començar a entrar en les diferents disciplines artístiques inclosa l'arquitectura, de tal manera que amb l'aparició de les avantguardes artístiques els moviments arquitectònicsmoderns també es van mostrar reaccionaris i van incloure, a part de nous conceptes arquitectònics, noves maneres de presentar-les, la qual cosa els va acostar a les propostes pictòriques i conseqüentment a la introduccióde la fotografia en el seu procés de treball i de presentació. / The study undertaken aims to present a comprehensive analysis of the impact of the emergence of photography in the representationof architecture, its introduction into project presentations and the use of photomontage. As the 19th century gave way to the 20th, photography had already begun its inroads into other artistic disciplines, includingarchitecture, hence the fact that with the emergence of the artistic avant-garde modern architectural movements also registered a reactionand included, in line with the new architectural concepts, new ways of presenting them, moving closer to pictorial approaches, and hence the introduction of photography within their working and presentational process.

People I Know is a conceptual visual arts project which involves collecting and archiving information with the intention of extending the notion of portraiture and identity beyond the frame of the body. The collection is a body of collaged material that is a substitute for the body of the sitter, characterizing them. My practice methodology is a combination of collage and collection which allows for a wide field of research and an interdisciplinary approach. These works could be considered case studies of people I know; in object, text, and sculpture; brought together in installation.

People I Know is a conceptual visual arts project which involves collecting and archiving information with the intention of extending the notion of portraiture and identity beyond the frame of the body. The collection is a body of collaged material that is a substitute for the body of the sitter, characterizing them. My practice methodology is a combination of collage and collection which allows for a wide field of research and an interdisciplinary approach. These works could be considered case studies of people I know; in object, text, and sculpture; brought together in installation.

Thesis (Ph. D.)--University of Missouri-Columbia, 2005. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on October 18, 2007) Vita. Includes bibliographical references.

Digital technology has expanded the designer’s creative reach, but cannot duplicate the complexity of the imperfect and unexpected results of handmade processes. By executing a series of hand-built collage and assemblage pieces, I hope to not only rediscover the pleasure of working with my hands but also to develop creative methods to incorporate into future design projects. In this body of work, I have manually executed tasks that designers perform with software — cutting, pasting, layering, aligning, and creating transparency and drop shadows. The pieces are built from new and found materials, using text and images from old family letters and photos — physical evidence of relationships from my childhood and those of my parents and grandparents. These pieces express fragments of memories and family history.

Les materiaux à forte mobilité comme l’InGaAs et le SiGe sont considérés comme des candidats potentiels pour remplacer le Si dans les circuits CMOS futurs. De nombreux défis doivent être surmontés pour transformer ce concept en réalité industrielle. Cette thèse couvre les principaux challenges que sont l’intégration de l’InGaAs sur Si, la formation d’oxydes de grille de qualité, la réalisation de régions source/drain auto-alignées de faible résistance, l’architecture des transistors ou encore la co-intégration de ces matériaux dans un procédé de fabrication CMOS.Les solutions envisagées sont proposées en gardant comme ligne directrice l’applicabilité des méthodes pour une production de grande envergure.Le chapitre 2 aborde l’intégration d’InGaAs sur Si par deux méthodes différentes. Le chapitre3 détaille le développement de modules spécifiques à la fabrication de transistors auto-alignés sur InGaAs. Le chapitre 4 couvre la réalisation de différents types de transistors auto-alignés sur InGaAs dans le but d’améliorer leurs performances. Enfin, le chapitre 5 présente trois méthodes différentes pour réaliser des circuits hybrides CMOS à base d’InGaAs et de SiGe. / High-mobility channel materials such as indium-galium-arsenide (InGaAs) and silicon-germanium(SiGe) alloys are considered to be the leading candidates for replacing silicon (Si) in future lowpower complementary metal-oxide-semiconductor (CMOS) circuits. Numerous challenges haveto be tackled in order to turn the high-mobility CMOS concept into an industrial solution. Thisthesis addresses the majors challenges which are the integration of InGaAs on Si, the formationof high-quality gate stacks and self-aligned source and drain (S/D) regions, the optimizationof self-aligned transistors and the co-integration of InGaAs and SiGe into CMOS circuits. Allinvestigated possible solutions are proposed in the framework of very-large-scale integration requirements.Chapter 2 describes two different methods to integrate InGaAs on Si. Chapter 3 detailsthe developments of key process modules for the fabrication of self-aligned InGaAs metal-oxidesemiconductorfield-effect transistors (MOSFETs). Chapter 4 covers the realization of varioustypes of self-aligned MOSFETs towards the improvement of their performance. Finally, chapter5 demonstrates three different methods to make hybrid InGaAs/SiGe CMOS circuits.

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.

La recherche intitulée Aproximação de fragmentos capturados: uma poética em desenho e colagem (L’assemblage de fragments capturés: une poétique en dessin et collage) se centre sur une investigation poétique fondée sur le dessin et qui débute par la capture d’éléments qui sont collectionnés pour être ultérieurement mis en rapport. Le dessin est vu comme un langage propice à des contaminations, par son histoire, ses matériaux et par les qualités d’enregistrement, intimité et inachevé qui se lient à lui. Dessiner c’est une manière de connaître et comprendre visuellement le monde, mais aussi de garder ces perceptions – possibilité qui est ici renforcée par l’utilisation du collage. La rencontre qui a lieu entre les fragments qui constituent le travail est vue comme un potentiel de construction poétique des images et la thèse se développe autour de l’hypothèse du sens construit plus dans les relations établies entre les composants d’un travail ou une série que dans ses unités. Cela implique que les efforts de rapprochement entrepris par le collage préservent quelque chose de fragmenté. Moyennant la pratique artistique, l’observation et analyse réflexive du processus de travail lui-même et ses relations avec le champ de l’art, la recherche a déclenché des réflexions au sujet des fondements du dessin et du collage; des documents de travail, la collection et le bricolage; des stratégies d’appropriation et opérations de transports d’images. Pour finir, tout en considérant que la rencontre implique aussi une distance, dans le contexte de cette recherche, on raffermit la quête de la non-dissimulation des renforcements, par l’évidence de la coupe et sa cicatrice. On a la bordure comme métaphore de la discontinuité et de la fragmentation caractéristiques de travaux élaborés moyennant le montage. / A pesquisa intitulada Aproximação de fragmentos capturados: uma poética em desenho e colagem centra-se em uma investigação poética fundada no desenho e que se inicia pela captura de elementos que são colecionados para posteriormente serem colocados em relação. O desenho é visto como uma linguagem propícia a contaminações, pela sua história, seus materiais e pelas qualidades de registro, intimidade e inacabado que se ligam a ele. Desenhar é uma maneira de conhecer e entender visualmente o mundo, mas também de guardar essas percepções – possibilidade que é aqui reforçada pelo uso da colagem. O encontro que acontece entre os fragmentos que constituem o trabalho é visto como um potencial de construção poética das imagens e a tese desenvolve-se em torno da hipótese de que o sentido é construído mais nas relações estabelecidas entre os componentes de um trabalho ou série, do que nas suas unidades. Isso implica que os esforços de aproximação empreendidos pela colagem preservam algo de fragmentado. Por meio da prática artística, da observação e análise reflexiva do próprio processo de trabalho e suas relações com o campo da arte, a pesquisa desencadeou reflexões acerca dos fundamentos do desenho e da colagem; dos documentos de trabalho, a coleção e a bricolagem; das estratégias de apropriação e operações de transportes de imagens. Por fim, considerando que o encontro também implica em uma distância, no contexto desta pesquisa reforça-se a busca pela não dissimulação das emendas, pela evidência do corte e da sua cicatriz. Tem-se a borda como metáfora da descontinuidade e da fragmentação características de trabalhos elaborados por meio da montagem. / The research named Aproximação de fragmentos capturados: uma poética em desenho e colagem (Approximation of captured fragments: a poetic in drawing and collage) is a poetic study based in drawing, which begins by collecting captured elements in order to later correlate them. Drawing is seen as a language vulnerable to contamination, which can be due to its history, its materials and the quality of its records, the intimacy and the unfinished that connect to it. To draw is a way to visually recognize and understand the world, but also to keep these perceptions – a possibility that is reinforced in this study using collage. The encounter of the fragments in this study is seen as a potential image poetic construction, in which this thesis is developed around the hypothesis that meaning is built in established relationship among the components of a work or series rather than in its units. This implies that the approximation efforts of the collage preserve a fragment trace. Through the practice of art, the observation and the reflexive analysis of the work process and its relationship to the art field, this research initiated reflections on the drawing and collage fundamentals; work documents; the collection and bricolage; appropriation strategies and operations of image transportation. Finally, considering that the encounter also implies distance, this research reinforces the search for a non-dissimulation of the seam, evidencing the cut and its scar. The border is a metaphor of discontinuity and fragmentation, which are characteristics of works elaborated through montage.