Work purpose: to create a porgramme which could transform existent view to specialised squares of small scale, attributing a characteristic colour, according to the needs of a consumer. Conclusions: 1. In order to creat a specilaized transformation system of raster views the best way suggested is to apply a „Reduction/Expansion method“, which helps to lose the least amount of graphical information. 2. Specialized transformation system of raster views (in terms of C++) is created, which transforms existent view to specialised squares of small scale, attributing a characteristic colour, according to the needs of a consumer.

The counterfeit phenomenon was analyzed in this magisterial work, and was interpretation made of it. In any museum appears to discover some forgeries that can be clarified only with time though time can veil it. Forgeries are made usually by faired people who lengthened manner or style of one or another famous artist. On one glance to history is clear, that the phenomenon of adulteration is popular in these quarters, where finances and profit are in hand also in the world of art. This phenomenon does not passes neither history nor politics. Some myths and legends are so vital, that it can encourage the modern man to a fantasies, that embolden to falsification of a facts. The rigging is not only material wealth, but intellectual property can be rigged too. Though the religious society declaring Christian moralities speak against any inferiority or lying and cheating, there are facts of its members can not resist a temptation to firm up their positions in peoples harts by invoking worldly unfair games. The erect hypothesis approved there for the proposition can be made that so widely spread forgery is not popular as a peace of art itself. There is gathered and systematized information allows to make an abstract opinion on forgery in this magisterial work. The oeuvre part of this magisterial work “Fake” is important up to date this theme was not used as artificial expression, there for it can become not only an object of exhibitions, but perform the social function:... [to full text]

Šiame esė formos rašto darbe, keliauju simbolinę kelionę, kuri neturi aiškaus, konkretaus tikslo, nei uždavinių. Būtis, laikas, atmintis, praeitis, Dievas, gimimas, mirtis, laikinumas, amžinybė – padriki egzitenciniai klausimai, į kuriuos įsižiūriu, bet neatsakinėju. Vadovaujuosi fragmentiškais atminties žemėlapiais, menininkų kūriniais ir jų atsiradimo sąlygomis. Remiuosi fenomenologiniu metodu, kuris pagrįstas refleksija ir reikalauja pakartoti esmines intuicijas, siekia išugdyti dėmesingumą, leidžia naujai įprasminti, kaip ir ką mes išgyvename. Darbo skyrius žymiu dienoraštį primenančiais pavadinimais. Šis fragmentiškas dienoraštis – be pradžios ir be pabaigos (prasidėjęs labai seniai, pasibaigia sugrįžimu į pradžią). Jis tampa svarbia praktinio darbo dalimi, paaiškinimu. / In this work written as an essay, I make a symbolic trip which doesn‘t have a clear, precise goal nor aim. Existence, time, memory, past, God, birth, death, temporality, eternity – such are the unbound existential questions which I do look at but do not try to answer. I follow fragmented maps of memory, consider artists‘ creations and the conditions of their appearance. I base myself on phenomenological method which relies on reflection and demands to repeat the essential intuitions, asks to grow attentiveness, permits to give sense to what we experience and how we do it. I give titles to the parts of this work similar to personal diary titles. This fragmented diary is without beginning and without end (it started very long ago and it ends with returning to it‘s starting point). It becomes an important part of the practical work, it‘s explanation.