This thesis deals primarily with metaphysical issues concerning human sensory/ perceptual experiences, and with questions about the formal representation of these experiences. In this respect it is similar to N. Goodman's The Structure of Appearance, which is discussed at some length. I establish a way of des- cribing and formally representing certain structures which must occur in sensory/ perceptual experiences, regardless of how the features of these experiences are categorized in terms of being physical or being mental. A special ("ontological- ly neutral") conceptual scheme which reflects the neutrality with respect to these categorizations, and which is particularistic in the sense of admitting sensory/per- ceptual individuals (sensations), is introduced for this purpose. The choice of a particularistic conceptual scheme in this context is supported by an argument which shows that the so-called adverbial approach is insufficient for describing sensory/perceptual experiences. To achieve the desired formal representation, I introduce an original generalization of the standard formalism for semantic 1st -order predicate theories which involves incomplete models, and a type of structured primitive predicates. Based on a Kantian view of the function of concepts in experience, I then give an account of experiential colour-predicates (like x looks red) in ontologi- cally neutral terms. This account, involving a special class of sensory/perceptual individuals (colour-tokens), has the particular advantage of avoiding the short- comings of both sense-datum theories and the views held by C. Peacocke in Sense and Content. This is followed by an account of experiential intentionality (in ontologically neutral terms) which shows how intentionality, as occurring in the context of sensory/perceptual experiences, can have a relational nature, des- pite the well-known problems of substitutivity and intentional inexistence which are traditionally associated with intentional relations.

This Diploma thesis is dealing with an analysis of the space understood like an interactive phenomenon, which is following our aesthetic enjoyment of a landscape. The description of this phenomenon is examined in the work of an American philosopher Arnold Berleant, but against a background of European phenomenological tradition. As a ground, on which can be an understanding of an experience of space built, will be in our thesis the phenomenological inquiry into the perception of corporeity, mainly in the work of Jan Patočka and Maurice Merleau-Ponty. An interaction between subject and object in the aesthetic experience of landscape is appearing as an completely unique, nondelegable and non-repetitive human experience. For the more concrete insight into this issue is necessary to analyze some factors entering into the aesthetic experience of landscape. The first of all is the factor of engaging our senses as an essential background of every aesthetic experience. The next important step is to study the perception of the space-time, the necessity of the bodily movement and a concrete corporeal engagement, which determines our possibilities of an exploration of such an environment. Landscape can not be moved, we have to come and pass through, where it is allowed. This fact does not mean, that we are...

La thèse propose d'examiner le rôle de la photographie dans la compréhension de l'œuvre d'art en tant qu'expérience de la perception : cet idéal, poussé dans! 'entre-deux-guerres par un élan internationaliste, repose sur la prétendue universalité du modèle psychophysiologique que les arts modernes empruntent aux sciences. Au cours des années vingt, les pédagogies artistiques se définissent alors comme une tentative de rationaliser la gamme des moyens/effets à utiliser dans la construction des travaux. Les photographies des volumes réalisés en cours se révèlent des dispositifs pour prolonger ces enjeux: s'il est impossible d'établir si elles sont de la documentation ou des manifestations en soi d'une intention formelle exercée à travers la photographie, c'est qu'il faut précisément résister à toute tentative de réduction. La thèse propose de considérer cette indistinction inhérente à la compréhension de la photographie au sein de la recherche artistique. La première partie, à travers l'analyse de l'école du Bauhaus, retrace le substrat et la mise en œuvre de la méthode psychophysiologique; c'est sur l'institutionnalisation de celle-ci, que s'attache la deuxième partie à travers l'analyse des écoles Vhutemas et de ! 'institut de Léningrad dirigé par Malevitch. Dès 1925 les élèves manipulent de plus en plus des petits appareils et la dimension poïétique de l'œuvre sur la quelle insiste toute la pédagogie est déplacée dans la prise ou dans les agencements scénographiques et éditoriaux. Si la photographie continue d'être comprise par les artistes comme un procédé de mise en jeu de la perception, au début des années trente les discours la réduisant à un outil de transparence connaissent une large diffusion. / The thesis proposes to examine the role of photography in the understanding of the work of art as an experience of perception : driven in the interwar period by an intemationalist impulse, this ideal stand on the supposed universality of psychophysiological mode! that modem arts borrow from science. During the twenties, artistic pedagogy is then defined as an attempt to rationalize the range of means / effects to use in constructing the work. The photographs of the volumes achieved in classes turn out to be a device for extending these issues: as far as it is impossible to establish if they arc a documentation or a demonstration in itsclf of a formai intention through photography, we must resist any attempt to reduction. The thesis proposes to consider this Jack of distinction as inherent to the understanding of photography in artistic rescarch. The first part, through the analysis of the Bauhaus school, retraces the substratc and the implementation of psycho-physiological method; the second part deal with its institutionalization through the analysis of Vhutemas schools and the Institute of Leningrad led by Malevich. ln 1925 the students manipulate more and more small camera and the poetic dimension of the work, so important to ail the artistic pedagogy, is moved in the shooting or in the display and editorial layout. If photography continues to be understood by artists as a way of bringing perception into play, in the early thirtics, its reduction as an objective tool became more commun.

Esta pesquisa vem ao modo de um diálogo ou ponte entre fenomenologia e ciência geográfica. O percurso tem início com o reconhecimento da ontologia comum entre sujeito e mundo, continua com a experiência da percepção com abertura e fechamento das coisas, numa operação constituinte do meio como mundo e lugar, pela atividade humana, diante daquele instituído, passivo, acabado. Das coisas chega-se ao lugar, deste vai-se ao mundo, até que dele se retorna; um ciclo. A ontologia comum estabelecida como ontologia encarnada permite procurar no recuo ao pré-objetivo, outros atributos normalmente desconsiderados dos lugares, os quais serviram de parâmetro à sugestão de avaliação e prognóstico. Para tanto, foram realizados trabalhos de campo como oportunidade de aplicação das noções consideradas. / This research is the way of dialogue or a bridge between phenomenology and geographical science. The route begins with the common ontology between subject and world, continues with the experience of perception with opening and closing of things, a constituent of operation as a means world and place for the activity, given that up, liabilities, finished. Of the things you get to the place, this go to the world, even if it returns, is a cycle. The ontology established as common ontology makes searching in the red throwback to pre-order, the pre-purpose other attributes normally disregarded, the places, thinking on assessment and prognosis of these places. To this end, the field work was conducted as an opportunity for the application of the concepts considered.

Esta pesquisa vem ao modo de um diálogo ou ponte entre fenomenologia e ciência geográfica. O percurso tem início com o reconhecimento da ontologia comum entre sujeito e mundo, continua com a experiência da percepção com abertura e fechamento das coisas, numa operação constituinte do meio como mundo e lugar, pela atividade humana, diante daquele instituído, passivo, acabado. Das coisas chega-se ao lugar, deste vai-se ao mundo, até que dele se retorna; um ciclo. A ontologia comum estabelecida como ontologia encarnada permite procurar no recuo ao pré-objetivo, outros atributos normalmente desconsiderados dos lugares, os quais serviram de parâmetro à sugestão de avaliação e prognóstico. Para tanto, foram realizados trabalhos de campo como oportunidade de aplicação das noções consideradas. / This research is the way of dialogue or a bridge between phenomenology and geographical science. The route begins with the common ontology between subject and world, continues with the experience of perception with opening and closing of things, a constituent of operation as a means world and place for the activity, given that up, liabilities, finished. Of the things you get to the place, this go to the world, even if it returns, is a cycle. The ontology established as common ontology makes searching in the red throwback to pre-order, the pre-purpose other attributes normally disregarded, the places, thinking on assessment and prognosis of these places. To this end, the field work was conducted as an opportunity for the application of the concepts considered.

Disertační práce se zabývá metodami snímání a hodnocení kvality 3D obrazů a videí. Po krátkém shrnutí fyziologie prostorového vnímání, obsahuje práce stav poznání v oblastech problému adaptivní paralaxy a konfigurace kamer pro snímání klasického stereopáru. Taktéž shrnuje dnešní možnosti odhadu hloubkové mapy. Zmíněny jsou aktivní i pasivní metody, detailněji je vysvětleno profilometrické skenování. Byly změřeny některé technické parametry dvou technologií současných 3D zobrazovačů, a to polarizačně-oddělujících a využívajících časový multiplex, například přeslechy mezi levým a pravým snímkem. Jádro práce tvoří nová metoda pro vytváření hloubkové mapy při snímání 3D scény, kterážto byla autorem navržena a testována. Inovativnost tohoto přístupu spočívá v chytré kombinaci současných aktivních a pasivních metod snímání hloubky scény, která vtipně využívá výhod obou metod. Nakonec jsou prezentovány výsledky subjektivních testů kvality 3D videa. Největší přínos zde má navržená metrika modelující výsledky subjektivních testů kvality 3D videa.