La « triple catastrophe » survenue le 11 mars 2011 dans la région du Tōhoku au Japon coïncide avec l’émergence de nouvelles technologies numériques qui ont rendu possible la diffusion en ligne presque immédiate des photographies de l’évènement après leur prise. Un des défis subséquents des artistes professionnels japonais est alors de donner une forme adéquate aux conséquences de ce désastre sans nécessairement contribuer à ce qu’ils perçoivent être un trop plein d’images. Ce mémoire prend la série Exposure (2015 – 2016), une oeuvre réalisée à Tchernobyl par le photographe Obara Kazuma, pour examiner quelques stratégies entreprises par des artistes japonais afin de répondre à ces impératifs. D’emblée, ce mémoire reconstitue les évolutions de la culture visuelle rattachée à la catastrophe de Tchernobyl (1986) jusqu’à l’ouverture officielle du site aux touristes (2011). Les productions photographiques tant des amateurs que des professionnels qui ont visité le lieu sont examinées pour mieux pour comprendre la position que prend Obara dans le champ visuel de Tchernobyl. La théorie du bricolage, telle qu’articulée par Claude Lévi-Strauss et selon laquelle un projet artistique est élaboré à partir des matériaux que possède d’emblée un créateur, jette un éclairage sur le rapport de mutualité établi entre Obara et les parties constitutives d’Exposure. Le second chapitre examine l’aspect fragmentaire de la série et les possibilités de lecture qu’offre ce mode de représentation. La théorie du montage de Walter Benjamin propose que le rapprochement de divers fragments participe à affiner et renouveler l’histoire de Tchernobyl telle qu’elle est actuellement montrée et narrée. Ultimement, le troisième chapitre examine la façon dont Obara rend inaliénable la composante historique de ses images. Exposure est alors analysé à l’angle des théories archéologiques de la spolia, qui démontrent comment Obara rend actuelle la catastrophe de Tchernobyl comme il en reproduit les propriétés et spécificités historiques. / The ‘triple disaster’ that occurred on March 11, 2011 in the Tōhoku region of Japan coincides with the emergence of new digital technologies which allowed an almost immediate online dissemination of photographs of the event after they have been taken. For many professional artists, the challenge is then to give an adequate visual shape to the consequences of the disaster without contributing further to an already massive number of images of the catastrophe. This thesis takes a series made in Chernobyl by photographer Kazuma Obara, Exposure (2015 – 2016) to examine some strategies undertaken by various Japanese artists to meet these imperatives. From the outset, this dissertation reconstructs the visual culture linked to the Chernobyl disaster, from its beginning (1986) to the official opening of the site to tourists (2011). The photographic productions of both amateurs and professionals who have visited the place are examined to better understand the position Obara takes in the visual field of Chernobyl. The theory of bricolage developed by Claude Lévi-Strauss, according to which an artistic project is developed by its creators with the materials they already possess, sheds light on the mutual relationship established between Obara and the constituent parts of Exposure. The second chapter examines the fragmentary aspect of the series and the reading possibilities this mode of representation entails. Walter Benjamin's theory of montage suggests that the bringing together of various fragments helps to refine and renew the history of Chernobyl as it is currently shown and narrated. Ultimately, the third chapter examines how Obara makes inalienable the historical component of his images. Exposure is then analyzed from the angle of archaeological theories of spolia, which demonstrate how Obara makes the Chernobyl disaster contemporary anew as much as it reproduces its historical properties and specificities.

Los planos secuencia, con el paso de los años, tienen cada vez mayor presencia y relevancia en el cine a nivel mundial. Con los avances tecnológicos y las múltiples referencias existentes de este recurso, es posible lograr productos impresionantes, además de explorar los límites del plano secuencia en diversos géneros cinematográficos. Es por ello que el objetivo principal de la presente investigación es analizar el aporte del plano secuencia a la narrativa de uno de estos géneros, el cine bélico, teniendo como principal referencia la película 1917, dirigida por Sam Mendes y estrenada en el año 2019, centrándonos en el realismo que le aporta a la cinta y analizando el efecto dramático que brinda, con respecto al montaje convencional. / Sequence shots, with the years going by, have an increasing presence and relevance in world cinema. With the advances of technology and multiple references of this resource, it is possible to achieve amazing products, besides exploding the limits of the sequence shots in multiple cinematographic genders. That is why the main objective of this research is to analyze the contribution of the sequence shot to the narrative one of this genders, the war cinema, using as a main reference the film 1917, directed by Sam Mendes and released in 2019, focusing on the realism that it brings to the film and analyzing the dramatic effect that it provides, compared to conventional montage. / Trabajo de investigación

The subject of this diploma thesis is building technological project of extension of warehouse in Tlumačov based on metal construction. This diploma thesis includes study of realization of main technological process, budget of the building, financial and time plan of building, schedule of works, project of construction site installation, technological regulation of instalacion steel structures and technological regulation of execution industrial floor, inspection and test plan of instalacion steel structures, inspection and test plan of execution industrial floor, design of main mechanisms, design and verification of main lift mechanisms.

The stacking of membrane electrode assemblies (MEA) and bipolar plates is a key process in fuel cell stack production, in which requirements for high accuracy and shortest possible process time must be taken into account. In this paper technical systems for fuel cell stack assembly are analysed regarding means for handling, gripping and alignment of the components. The different methods are compared and evaluated, followed by a novel system allowing for an on-the-fly measurement of the position / Das Stapeln von Membran-Elektroden-Einheiten (MEA) und Bipolarplatten ist ein Schlüsselprozess in der Brennstoffzellen-Stack-Produktion, bei dem die Anforderungen an eine hohe Genauigkeit und eine möglichst kurze Prozesszeit berücksichtigt werden müssen. In diesem Beitrag werden technische Systeme für die Montage von Brennstoffzellenstapeln hinsichtlich der Handhabung, des Greifens und der Ausrichtung der Komponenten analysiert. Die verschiedenen Methoden werden verglichen und bewertet, gefolgt von einem neuartigen System, das eine on-the-fly Messung der Position ermöglicht.

This work summarizes results of about ten years of the author’s own research activities in the field of colloidal synthesis of semiconductor nanoparticles, their postsynthetic chemical modification, assembly, and applications. I attempted to provide a concise yet comprehensive overview presenting my own results as a part of the knowledge framework created in close collaboration with many colleagues from all over the world. This habilitation thesis consists of an introduction, explaining the motivation of the research accomplished, followed by a main part which briefly presents key achievements of the author with links to appropriate annexes, i.e. original published articles in peer review journals which are attached to this cumulative script, and completed by conclusions.

Mit Thomas Manns Mittelalterroman Der Erwählte , erschienen 1951, liegt ein literarisches Werk vor, in dem ein Stück der älteren deutschen Dichtung, nämlich Hartmann von Aues mittelhochdeutscher Gregorius , in der Gegenwartsliteratur seine schöpferische Weiterbildung erfahren hat. Um seine Mittelalterfiktion möglichst vielschichtig zu gestalten, griff Thomas Mann neben der stofflichen Rezeption der mittelalterlichen Gregorius -Legende auch sprachlich in der Zeit zurück. Der an sich neuhochdeutsch zu lesende, überwiegend in Prosa abgefasste Text ist mit einer Vielzahl fremder Wörter, Sätze und Dialoge durchsetzt, die älteren und jüngeren europäischen Sprach(ständ)en entnommen sind. Im Mittelpunkt vorliegender Arbeit steht die Rekonstruktion der Mann schen Sprach-, Zitat- und Wortbildungsarbeit anhand der Originalnotizen, -materialien und der im Thomas Mann-Archiv / Zürich aufgestellten Handbibliothek des Dichters. Entstanden ist ein umfangreicher Stellenkommentar mit Sachinformationen, Worterklärungen, Übersetzungen, Quellennachweisen bis hin zu Lesebemerkungen Thomas Manns ein Instrument, das unabhängig vom Rest der Arbeit als Lese- und Interpretationshilfe genutzt werden kann. Im Rahmen dieser Arbeit ist besagter Stellenkommentar die unerlässliche Voraussetzung zur Beantwortung der Leitfrage nach der poetischen Funktion von Sprache, Zitat und Wortbildung im Rahmen der mittelalterlichen Gesamtfiktion.

[pt] Na dissertação, busca-se verificar, partindo da trilogia As Mil e Uma Noites – O inquieto (Vol. 1), O desolado (Vol. 2) e O encantado (Vol. 3) –, dirigida pelo cineasta português Miguel Gomes, como a obra trata o processo da montagem para pensar as questões políticas de Portugal. Abordaremos a montagem como uma prática de construção do pensamento – a partir de Didi- Huberman – para além de uma etapa da produção fílmica. Cabe aqui refletir, em que medida, através de elementos heterogêneos como a utilização do livro como dispositivo narrativo, o cenário, a escolha de atores e não-atores e o embaralhamento entre a realidade e a ficção, os filmes produzem o dissenso (no sentido de Jacques Rancière) fazendo pensar as relações entre estética e política. Nossa hipótese é de que esses filmes retomam lugares concretos para reconstruílos de forma inventiva, forjando a possibilidade de um espaço em que a esfera coletiva tenha peso efetivo – tensionando assim as relações de poder estabelecidas. / [en] Having the trilogy As mil e uma Noites: O inquieto (Vol. 1), O desolado (Vol. 2) e O encantado (Vol. 3) [Arabian nights: The restless ones (Vol. 1), The desolate one (Vol. 2) and The enchanted one (Vol.3) directed by the Portuguese movie maker Miguel Gomes as a starting point, this research aims to analyze how his work deals with the editing process as a tool to think over political issues in Portugal. From Didi-Huberman perspective, the editing as a thought-building practice will be dealt as beyond a mere phase of the movie production. At this point, reflections can be made on what extent the usage of heterogeneous elements, such as the use of the book as a narrative device, the setting, the choice of actors and non-actors, and the shuffle between reality and fiction, films can produce dissent (as in Jacques Rancière) and, as a result, leading to reflections about the relationship between aesthetics and politics. The hypothesis is that these pictures have their take on certain concrete places by rebuilding them inventively, thus enabling a modulate space in which the collective sphere has an effective weight able on tensing the established power relations.

This text uses a semiotic psychoanalytical framework to analyze season two of The White Lotus. This text examines the significance of the artwork of the show and applies Lacan’s mirror theory to the series’ artwork and the character Ethan. This thesis posits that the artwork is edited to accomplish the following: 1) to act as a metaphorical mirror for Ethan (a component of mise en scéne) 2) to heighten the series’ cultural appeal 3) to surveil the hotel guests and 4) to foreshadow future events.

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Architecture is visuality. Its object is what Norman Bryson has referred to as a screen of signs. "Between subject and the world is inserted the entire sum of discourses which make up visuality, that cultural construct, and make visuality different from vision, the notion of unmediated visual experience. Between retina and the world is inserted a screen of signs, a screen consisting of all the multiple discourses on vision built into the social arena." (Norman Bryson, from Practice; Architecture, Technique, and Representation, by Stan Allen) Architecture and representation are integral to the screen. How do we make architecture? Is the act of making architecture a montage? Can architecture be made through montage? What is the role of montage in an architecture for life and death? The process of making architecture is not a prescribed methodology with a predetermined outcome. Architecture, crafted by the hand of the architect, is a divine act of assemblage of subconscious allegorical thought, image, and tectonics. Through this art of assemblage, an architecture is born capable of instigating a narrative of metaphor and memory. Metaphorical narrative has the innate ability of summoning memory, and is critical in an architecture for life and death. Architecture is the only total sensory means of narrative. / Master of Architecture