Area selective atomic layer deposition (ASALD) is demonstrated to be a promising route to perform direct patterned deposition. In particular, methods to modify (or mask) the surface and process parameters to perform selective deposition of titanium dioxide have been developed and investigated in detail. Results indicated that self assembled monolayer based masking methodology posses significant limitations due to challenges associated with obtaining defect free monolayer and absence of traditional patterning techniques. On the other hand, polymer films based masking methodology offer a better alternative to perform ASALD. A number of factors that must be considered in designing a successful ASALD process based on polymer films were identified. These include: reactivity of polymer with ALD precursor, diffusion of ALD precursors through polymer mask and remnant precursor content in the polymer film during ALD cycling. Investigations suggested that ALD nucleation can be successfully blocked on polymer films that do not contain direct OH sites in their backbone. It was observed that sorption of water in the polymer film does not pose a serious limitation however; metal precursor diffusion through the polymer mask was identified as a critical parameter in determining the minimum required masking layer thickness for a successful ASALD process. In addition, a novel ASALD-based top surface imaging (TSI) technique has been developed. The ASALD-TSI process has demonstrated sharp contrast (etch barrier deposition vs exposure dose) and therefore offers the potential to overcome many of the challenges experienced with conventional TSI schemes.

Thesis (MA (English))--University of Stellenbosch, 2009. / This thesis argues that Ndi Sibiya, fictional writer and protagonist of the novel, Mating Birds by Lewis Nkosi develops a pathological obsession with Veronica Slater, a white woman for whose rape Sibiya is about to be executed. One of the many theorists that have commented on the effects of race on sexuality, particularly in colonized black people is Frantz Fanon. In Black Skin White Masks Fanon asks a question based on Freud’s question, “What does a woman want?” Fanon’s question is different in that he asks, what do black people want, which opens the way for a post-colonial psychoanalytical analysis of Ndi Sibiya. What he is concerned with in Black Skin White Masks is a post-colonial psycho-analytical evaluation of the state of being black in colonial societies. Nkosi does the same in his novel, whereas he deals with Apartheid South Africa as an extension of colonialism. Nkosi and Fanon are both addressing the broader psychological impact racially oppressive societies have on the black person’s psyche. Fanon in his psychoanalytical study of the black man from within the Freudian framework aims to save the man of colour from himself (9) by giving black people a warning that is not much different from the warning Sibiya’s father gives to him: do not lust after the white man’s woman.

Thesis (MA)--University of Stellenbosch, 2001. / ENGLISH ABSTRACT: The aim of this study is to investigate man's use of the mollusk within selected art forms, and to use the research results to design a contemporary museum exhibition, relevant within a South African context. Two sections are presented. In section A the selected art forms, fine arts, architecture, furniture design, masks and music and other sound instruments are thoroughly investigated to determine in what way the mollusk/shell is used in or on these art forms. A large number of figures are included to illustrate the available examples, and to aid the reader in the visualization of these applications. In section B a design solution is presented, based on the research results of section A. The compilation of an exhibition team and the whole design process, from the choice of an exhibition theme to the evaluation of the exhibition, is investigated. The exhibition designer plays the important role of interpreting the research results and to compile a design solution. A wide variety of exhibition techniques are recommended for the design solution, including theatre productions, special lighting and sound effects, demonstrations and tours. A number of figures are included, where photos taken during the museum visitations and design sketches provide further insight into the design solution. From the research results it was noted that an educational subject such as the mollusk/shell, can be made timely and attractive for the museum visitor by the use of creative, contemporary and relative exhibition techniques. / AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om die mens se benutting van die mollusk in geselekteerde kunsvorme te ondersoek en om die navorsingsresultate te gebruik om 'n eietydse en kreatiewe museumuitstalling, relevant binne die Suid-Afrikaanse konteks, te ontwerp. Twee afdelings word aangebied. In afdeling A word die geselekteerde kunsvorme, beeldende kunste, argitektuur, meubeIkuns, maskers en musiek- en ander kIankinstrumente deeglik ondersoek om vas te stel op watter wyse die mollusk/skulp daarin of daarop gebruik word. 'n Groot aantal figure word ingesluit om die beskikbare voorbeelde te illustreer en op so 'n wyse visuaIisasie vir die leser te vergemaklik. In afdeling B word 'n ontwerpoplossing aangebied, gebaseer op die navorsingsresultate van afdeling A Die samestelling van 'n uitstalspan en die hele ontwerpproses, vanaf die keuse van 'n uitstalterna tot die evaluering van die uitstalling, word ondersoek. Die uitstaIontwerper vertolk die belangrike rol om die navorsingsresultate te interpreteer en 'n ontwerpoplossing daaruit saam te stel. 'n Groot verskeidenheid uitstaltegnieke word vir die ontwerpoplossing aanbeveel, wat onder meer teateraanbiedings, spesiale beligting- en klankeffekte, demonstrasies en toere insluit. 'n Verskeidenheid figure word ingesluit waar foto's, geneem tydens die ter plaatse ondersoeke, en ontwerpsketse 'n aanduiding van die ontwerpoplossing gee. Uit die navorsingsresultate kon daar vasgestel word dat 'n opvoedkundige onderwerp soos die mollusk/skulp, deur die gebruik van kreatiewe, eietydse en relevante uitstaltegnieke, vir die museumbesoeker aktueel en aantreklik gemaak kan word.

Orientador: Rubens Jose Souza Brito / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-07T11:26:28Z (GMT). No. of bitstreams: 1 Doria_RobertoRodriguez_M.pdf: 10788175 bytes, checksum: 584dfd87e2b95ad594052728b9c20c8d (MD5) Previous issue date: 2005 / Resumo: O texto que constitui este trabalho é uma reflexão teórica sobre processo criativo através da máscara desenvolvida com os atores da Companhia Teatral Nosconosco do Rio de Janeiro. Este trabalho parte de uma experiência prática na construção de um espetáculo teatral e seu desenvolvimento criativo com objetos de uso cotidiano que levam o ator ao estado da máscara e sua reflexão teórica / Abstract: The text of the present work is a theoretical reflection about the creative process through the mask, developed with actors from the Companhia Teatral Nosconosco, from Rio de Janeiro. This work starts from a practical experience in a play making of using daily ordinary objects that take the actor into the mask state and its theoretical reflection / Mestrado / Mestre em Artes

Por meio da análise das máscaras funerárias do Egito Romano procuramos discutir algumas questões relevantes sobre a sociedade egípcia de então. A principal delas é a criação de uma elite local de origem “grega” pelo governo romano e seu papel na propagação de elementos de origem grega e romana no meio cultural egípcio, os quais podem ser observados nas características faciais e no tipo de vestimenta retratados nas máscaras funerárias. Estas formas artísticas variavam cronológica e geograficamente, conforme as particularidades regionais e o interesse da elite dominante aliada ao Império Romano. Nesta complexa rede de relações sociais, as crenças funerárias do Egito Romano mantêm a tradição que remonta ao período faraônico. A máscara pode ser considerada tanto como uma salvaguarda da memória social do morto, o qual preserva assim seu status social, como seu duplo e substituto mágico no Além. / Through the analysis of burial masks of Roman Egypt we discuss some relevant issues bearing on the Egyptian society of those times. Prominent among them is the creation of a local elite of “Greek”origin by the Roman government, and its role in the propagation of elements of Greek and Roman origin in the Egyptian cultural milieu, which can be observed in the facial characteristics and in the garments portrayed in the burial masks. These artistic forms varied chronologically and geographically, according to the regional particularities and the interest of the dominant elite, allied to the Roman Empire. In this complex network of social relationships the funerary beliefs of the Roman Egypt mantain the tradition which reaches back to the pharaonic period. The mask may be considered as much as a safeguard of the social memory of the dead, which, in this way, preserves his social status, as well as his double one and magic substitute in the Beyond.

Com a tecnologia altamente especializada na produção de insumos, utilização de recursos naturais em produtos cosméticos tem sido crescente. Recentemente, a Cosmetologia retoma o interesse pelas máscaras faciais baseadas na diversidade de matérias-primas argilosas. Embora muitas propriedades dispersões argilosas tenham sido estudadas, existem poucos estudos científicos relacionados aos aspectos de estabilidade físico-química de formulações baseadas em argilas. Esta pesquisa teve como objetivo o desenvolvimento de máscaras faciais argilosas, avaliando seu perfil de estabilidade física e físico-química. Inicialmente, composição química e mineralógica, tamanho de partículas, propriedades térmicas, índice de intumescimento e valor de pH das matérias-primas argilosas foram determinados. Também foram avaliadas as propriedades reológicas de dispersões argilosas contendo 1,0; 3,0 e 5,0% p/p de silicato de alumínio e magnésio (SAM) associado ou não com 0,5; 1,0 e 5,0% p/p de goma xantana ou hidroxipropilguar. A influência das variáveis de preparo (temperatura, velocidade e tempo de agitação) na viscosidade aparente da pré-formulação, armazenada a 22,0 ± 2,0 °C durante 28 dias, foi avaliada por meio do planejamento estatístico fatorial 23. Foram desenvolvidas nove formulações em veículo aquoso gelificado, variando o tipo concentração de gomas e de umectantes; e cinco em veículo emulsionado partículas sólidas associadas ou não a um tensoativo não iônico, contendo proporções variadas de fase oleosa. As formulações foram submetidas à Avaliação Preliminar de Estabilidade e aos Testes de Estabilidade Acelerada e Normal. Homogeneidade, . cor e odor, valor de pH e parâmetros reológicos foram determinados em cada dia de análise durante os testes de estabilidade. Formulações em veículo aquoso contendo 5,0% p/p de SAM associado a 0,5% de goma xantana ou 5,0% de hidroxipropilguar contendo a mistura de glicerina propilenoglicol (4,0% p/p de cada componente) foram estáveis em todas condições estudadas. Além disto, a formulação emulsionada contendo 5,0% de SAM como emulsificante primário e 4,0% de fase oleosa também permaneceu estável todas as condições avaliadas. O armazenamento a 5,0 ± 0,5 °C é recomendado para as formulações de máscaras faciais baseadas em materiais argilosos. / Due to highly specialized technology in supplies production, the use natural compounds has been growing. Recently, Cosmetology retakes the interest facial masks based on diversity of clay raw-materials. Although most of properties clay dispersions have been studied, specific aspects concerning physicochemical stability of clay mask products remain unclear. This work aimed at developing and investigating the physicochemical stability of clay facial masks. Firstly, clay raw-materials were evaluated according to chemical and mineralogical composition, particle size distribution, thermal properties, swelling index and pH value. Rheological properties of clay dispersions, containing 1.0, 3.0 and 5.0% w/w of aluminum and magnesium silicate (AMS) associated or not with 0.5, 1.0 and 5.0% of xanthan gum or hydroxypropyl guar, was also determined. A factorial experimental design 23 was used to evaluate the influence of mixing conditions (temperature, rotation and time) on apparent viscosity of pre-formulation stored at 22.0 ± 2.0 °C for 28 days. It was developed nine formulations in aqueous vehicle, differentiated by type and concentration of gums and humectants; and five formulations in emulsified vehicle solids particles associated or not with a non-ionic surfactant and containing different oil phase proportions. Formulations were subjected to Preliminary, Accelerated and Normal Stability Assays. Homogeneity, color and odor, pH value and rheological parameters were determined in each day of analysis during stability assays. Aqueous formulations containing 5,0% w/w of AMS associated to 0.5% w/w xanthan gum or 5.0% w/w of hydroxypropyl guar and glycerin and propylene glycol (4.0% w/w each one) were stable at all studied conditions. Moreover, the emulsified formulation added by 5.0% w/w AMS as primary emulsifying and 4.0% of oil phase kept stable at all conditions. The storage at 5.0 ± 0.5 °C is recommended for physical stability of clay-based formulations.

El presente artículo constituye un intento de documentar históricamente los orígenes de La Huaconada, baile ejecutado actualmente en el pueblo de Mito (valle del Mantaro) que, según se infiere a partir de las fuentes archivísticas, tuvo amplia difusión en la costa y sierra central peruana en tiempos coloniales.A partir de la revisión de fuentes etnohistóricas de los siglos XVI y XVII se propone una correspondencia entre los huacones y los ancestros fundadores de las comunidades en las que se realizaba el baile, explicándose al mismo tiempo la recurrente asociación de estos personajes míticos con elementos claramente vinculados al culto de los antepasados en el mundo andino, como cuevas (machay) y huancas. Se establece además el papel que este tipo de ceremonias cumplía en el marco del calendario agrícola de las poblaciones indígenas durante la colonia.Finalmente, recurriendo a la revisión de material arqueológico, se sugiere que ciertas tallas de madera integradas a los fardos funerarios prehispánicos y máscaras elaboradas a partir de restos humanos representarían el antecedente material de la parafernalia empleada en la danza. / This article constitutes an attempt to document the origins of the «Huaconada,» a dance currently performed in the town of Mito (Mantaro Valley) but which, as can be inferred from archival sources, was widespread throughout the coast and central Andes of Peru during colonial times.  The study of ethnohistorical sources from the sixteenth and seventeenth centuries reveals a relationship between the «huacones»and the ancestral founders of the communities where the dance was performed.  This explains the repeated association of these mythical characters with elements connected to ancestor cults in the Andes, such as caves (machay) and «huancas». The analysis suggests the role of this type of ceremonies in the agricultural calendar of native indigenous populations during the colonial period.From the review of archaeological evidence, it is suggested that certain pieces of wood carving from prehispanic burial wrappings and masks incorporating human remains represent the materials used for paraphernalia that is employed in the dance.

Investiga o papel do corpo no teatro de animação, um gênero teatral que elege máscaras, bonecos e objetos como seus principais meios de expressão. O ator desse teatro, conhecido como ator-animador, ator-manipulador ou ator-bonequeiro, tem como principal característica a expressão por meio dos elementos materiais acima citados. Objetivo: propor um treinamento corporal básico a esse ator, tendo como fundamentos os princípios gerais da técnica do movimento consciente (ou técnica Klauss Vianna) aplicados à linguagem do teatro de animação. Método: oficina prática realizada com atoresbonequeiros. Resultados: a sensibilização e a conscientização do corpo, tal como propostas pela técnica Klauss Vianna, auxiliaram os atores-bonequeiros a tornar mais orgânicas suas interações com elementos materiais. Favoreceram também a superação de estereótipos e de relações mecanizadas, previsíveis, com estes elementos. Conclusão: a consciência corporal é um elemento de grande importância no trabalho do ator-bonequeiro, como base prévia ao aprendizado mais técnico de animação de máscaras, bonecos e objetos, sendo também um caminho para a descoberta de novas possibilidades de relações entre o corpo do ator e o universo material. / It investigate the role of the body in the animation theater, a theatrical gender that uses masks, puppets and objects as its main way of expression. The actor of this theater, known as actor-entertainer, actormanipulator or actor-puppeteer, has as his main characteristic the expression through the material elements mentioned above. Aim: to propose a basic body training for this actor, having as its base the general principles of the conscientious movement technique (or Klauss Vianna technique) applied to the language of the animation theater. Method: hold a practical workshop with puppeteers. Results: the awareness of the body, as proposed by Klauss Viannas technique, which assisted the puppeteers to make their interactions with material elements more organic. They also favored the overcoming of stereotypes and the mechanized, predicable relations with these elements. Conclusion: the body awareness is a key element in the work of the puppeteers, as previous base for a more technical learning of animation of masks, puppets and objects, being also a way to the discovery of new possibilities concerning relationship between the body of the actor and the material universe.

Introduction: Community mitigation strategies (CMS) have demonstrated to be effective in the reduction of transmission and incidence of COVID-19, especially in the population with symptoms associated with the disease. The aim of this study was to evaluate the association between the presence of COVID-19 symptoms and adherence to CMS in Latin American adults. Methods: We carried out a secondary analysis of a database developed by the University of Maryland and Facebook social network during the COVID-19 pandemic. We included Latin American adults that used the Facebook platform and participated in a survey conducted from April 23 to May 23, 2020. The principal outcome variable was reported compliance with the three main CMS (physical distancing, use of face masks, and hand washing). The exposure variable included symptoms suspicious for COVID-19 defined as the presence of three or more symptoms of an acute clinical case of COVID-19. We performed generalized linear models of the Poisson family with a logarithmic link function to evaluate the association between the presence of COVID-19 symptoms and reported compliance with CMS. We calculated crude and adjusted prevalence ratios (PR) with their 95% confidence intervals (95%CI). Results: We analyzed 1,310,690 adults from Latin America; 48.1% were male and 42.9% were under 35 years of age. The prevalence of suspicious symptoms of COVID-19 was 18.5% and reported compliance with the three CMS was 45.3%. The countries with the highest proportion of reported compliance with the three CMS were Peru, Bolivia and Panama, while those with the lowest reported compliance were Costa Rica, Nicaragua and Honduras. In the adjusted model, people with suspicious symptoms for COVID-19 had a 14% lower compliance with the three CMS (aPR = 0.86; 95%CI: 0.85–0.87; p < 0.001). Conclusions: Less than half of the participants complied with the CMS, and those presenting suspicious symptoms for COVID-19 had lower reported compliance with the three CMS. / University of Maryland / Revisión por pares

No description available.