Made available in DSpace on 2016-06-02T19:29:36Z (GMT). No. of bitstreams: 1 TeseMCP.pdf: 2590211 bytes, checksum: fbddd2ebe0a13476cff853d57d9dc052 (MD5) Previous issue date: 2004-03-23 / Financiadora de Estudos e Projetos / This study was carried out in a rural community Conceição-Açu located in the country of Cuiaba, Mato Grosso state. The main purpose of this paper was to interpret the existent relationship between the population and their environment, inserted in the socio cultural and environment context related to the use of vegetal plants and animal resources. Through the information given, it was possible to analyse the social structure and the quality of life of the people in the region and identify the different ways of using the natural resources and the knowhow the population has about the environment through the techniques used in the conservation process. The method used combined qualitative and quantitative aspects when putting into practice the following stages: ecological description of the ecosystems; socio economical description of the families involved in this study, a follow up of the main productive activities and also of the activities of collecting in the gallery woods; Checking of the different strategies used in the preparation and conservation of the vegetal plant resources and the interpretation of the etnobiological knowledge, giving emphasis to the etnobotanic and etnozoologic aspect, given by yhe local population. The rural inhabitants identify several micro habitas in the interior of the gallery wood, to which the presence of certain species of vegetal plants and animals are associated. People showed a comprehensive understanding of the trophic and reprodutive behaviour of the animals that they know and live with in their properties and in nearby areas, not forgetting the ecological association plant-animal-plant. It s attributed to the plants (suffer more or less; react a lot or react a little) and to the animals (eat a lot or a little, they are wild or tame) a classification by bynary opposition because of their behaviour. Starting from the etnoknowledge that the local population showed about the use of the natural resources it was possible to make the comparison with the scientific knowledge, through tables, aiming at showing the agreement between both interpretation about the ecosystem and its natural resources. The value of use of the vegetal plant species revealed and interaction of the people with the environment, pointing to the relevence of the gallery wood for the storage of renewable natural resources. The economic exploitation in the region has a small environment impact, favoring, in this way the conservation of the local flora and fauna. / O presente estudo foi realizado na comunidade rural de Conceição-Açu localizada no município de Cuiabá, Estado de Mato Grosso. O propósito central do trabalho foi o de interpretar as relações existentes entre a população e o seu ambiente, integrados no contexto sócio-cultural e ambiental relacionados ao uso dos recursos vegetais e animais. Através das informações obtidas foi possível analisar a estrutura social e a qualidade de vida das pessoas da região e identificar as diferentes formas de uso dos recursos naturais e o conhecimento que a população detém sobre o ambiente através das técnicas empregadas no processo de conservação. O procedimento metodológico utilizado combinou aspectos qualitativos e quantitativos na execução das seguintes etapas: descrição ecológica dos ecossistemas; descrição sócio-econômica das famílias estudadas; acompanhamento das principais atividades produtivas; acompanhamento das atividades de coleta nas matas de galeria; verificação das diferentes estratégias dispensadas à preparação e conservação dos recursos vegetais e a interpretação dos conhecimentos etnobiológicos, com ênfase no aspecto etnobotânico e etnozoológicos emitidos pela população local. Os moradores rurais identificam diversos micro-habitats no interior da mata de galeria, aos quais associam a presença de determinadas espécies vegetais e animais. As pessoas demonstraram ampla compreensão sobre o comportamento trófico e reprodutivo dos animais que conhecem e que convivem em sua propriedade e nas áreas próximas, sem perder de vista a associação ecológica planta-animal-planta. Atribuem as plantas (sofre mais ou sofre menos; reage muito ou reage pouco) e aos animais (comem muito ou comem pouco; são ariscos ou são mansos) uma classificação por oposição binária em função do seu comportamento. Partindo do etnoconhecimento que a população local demonstrou sobre o uso dos recursos naturais foi possível a comparação com o conhecimento cientifico, através de tabelas, com o objetivo de evidenciar a concordância entre as duas interpretações sobre o ecossistema e seus recursos naturais. O valor de uso das espécies vegetais revelou uma interação das pessoas com o ambiente, apontando para a relevância da mata galeria no sentido de estoque de recursos naturais renováveis. O aproveitamento econômico exercido na região é de pouco impacto ambiental favorecendo, dessa forma, a conservação de populações da flora e da fauna local.

Iris Clert (1918-1986) est une figure emblématique du monde de l'art contemporain parisien de la seconde moitié du XXe siècle, et plus particulièrement des années 1960. L'histoire de l'art semble n’avoir retenu que des bribes de son existence et de la galerie d'art contemporain qu'elle dirigea à Paris de 1956 à 1982. En effet, sa postérité repose exclusivement sur la place considérable qu'elle a tenue dans la promotion de l’oeuvre d'Yves Klein et dans l'émergence du groupe d'artistes des Nouveaux-Réalistes. Pourtant, Iris Clert n’est-elle pas la première galeriste à avoir proposé au public parisien des oeuvresd’Ad Reinhardt, Lucio Fontana et Leon Golub ? Puis, à force de renouveler et de transgresser les méthodes et pratiques habituellement assignées à sa profession, Iris Clert n’annonce-t-elle pas l’élan pris par l’art vers la participation et l'événementiel ? N’est-elle pas à l’origine de véritables politiques culturelles ? N’a-t-elle pas été elle-même une artiste ? Aussi, à force de se raconter et de s'identifier à l'art, n’a-t-elle pas tenté de se construire une mythologie personnelle, afin d’apparaître telle l’œuvre de sa galerie ? Faire de l’art une attitude de vie, provoquer, scandaliser, formuler des revendications ambiguës, se jouer des normes, se fier à son instinct plus qu'à la raison, être partout sans limites… voici les ambitions d’Iris Clert, elle qui affirmait en 1975 : « J’ai un destin, je suis la messagère des dieux, donc des artistes ! » / Iris Clert (1918-1986) is a key figure in the world of the Parisian contemporary art of the sixties. Art history seems to have only kept recollection of fragments of her life and of the contemporary art gallery she ran in Paris from 1956 to 1982. Her posterity is only based on the significant part she played in promoting Yves Klein’s art and New Realism artists.Though, isn’t Iris Clert the first gallery owner who introduced the Parisian audience with Ad Reinhardt, Lucio Fontana and Leon Golub’s art? By keeping reinventing and breaking the usual methods and habits of her field, she anticipates the impulse of art towards participation and events. Wasn’t she the spearhead of a true cultural policy and an actual artist herself? She then tried to build her own mythology by keeping identifying herself with art, to appear as the very work of her gallery. Iris Clert showed her ambitions by making art a way to conduct her life, acting in a provocative and outrageous way, expressing ambiguous demands, defying standards, trusting her instinct over her mind, and being unrestrictedly everywhere. Ambitions which made her say in 1975: “I have a destiny, I am the messenger of the gods, hence of artists”.

Financial Reporting of public-benefit corporations in Czech Republic was significantly changed during a reform of public accounting standards. This thesis focuses on specifics of new Czech legislation in the field of public sector accounting and its differences from international IPSAS standards and shows basic principles of economy of public-benefit corporations on example of one of the most important cultural institution in Czech Republic - National gallery in Prague.

At the beginning of the twenty-first century British costume museums were failing to attract audiences; consequently, all but the Gallery of Costume, Manchester and the Fashion Museum, Bath were closed to the public. This thesis has sought to examine the traditional display methodologies of historic costume museums, using the Gallery of Costume as its primary case study of practice. This investigation problematises the theoretical assumptions upon which the gallery’s display methodologies are founded and compares its approaches to those taken in contemporary displays of historic dress. The findings of this investigation have been used to propose new approaches to the display of historic dress that aim to engage contemporary audiences. Using the research methods of participant observation, interviews and archival research the first chapter of this thesis outlines the development of the Gallery of Costume’s display methodologies, highlighting the agency of individual curators. The next two chapters explore the ways in which curators of dress reconstruct the bodies and personalities that give form to worn dress in the museum. The thesis moves on to examine both the methods by which the Gallery of Costume’s constructed history in its displays of history and the theoretical assumptions underlying its historiography. This chapter is followed by an exploration of the performance of fashion within the museum, attending to the way in which exhibitions can express dress as ‘living’ concept within accepted conservation guidelines. Finally, this thesis outlines a framework upon which reflexive exhibitions of historic dress can be built.

Les microrésonateurs à modes de galerie en matériaux amorphes sont faciles à produire par des techniques de fusion. Leur facteur de qualité est cependant limité à quelques 108 du fait du phénomène de contamination de surface ou d'une absorption résiduelle plus importante que celle des matériaux cristallins. Nous avons développé deux méthodes utilisant des micro-résonateurs actifs, fabriqués par fusion de poudres de verres ZBLALiP dopés Erbium, permettant de dépasser cette limite. Il est tout d'abord possible de compenser les pertes en introduisant du gain optique dans le micro-résonateur. Des facteurs de qualité chargés de 5×109 correspondant à un facteur de qualité intrinsèque de 1010 ont ainsi pu être mesurés. En plus d'une augmentation du facteur de qualité, le gain interne offre un paramètre supplémentaire de contrôle du couplage, cela nous a permis d'obtenir tous les régimes de couplage d'un résonateur à partir du sous couplage jusqu'au régime d'amplification sélective. Nous avons atteint en particulier le régime de transparence, un micro-résonateur dans un tel régime peut trouver des applications comme ligne à retard variable transparente ayant un retard de groupe qui peut être modifié en jouant sur le taux de couplage entre le résonateur et la ligne d'accès. La deuxième méthode consiste à augmenter très fortement la valeur de l'indice de groupe du milieu par des effets de lumière lente. Un indice de groupe d'environ 4×106 a été obtenu via le phénomène d'Oscillations Cohérentes de Populations (OCP) ce qui caractérise un très fort ralentissement de la lumière. Ceci nous a permis d'augmenter, dans une micro-cavité, le temps de stockage des photons de 200 ps à 2,5 ms ce qui correspond à un facteur Q de 3×1012. / Glass-based whispering gallery mode (WGM) microresonators are easy to produce by melting techniques. However, they suffer from surface contamination or residual absorption which limits their long term quality factor to only about 108. We show that an optical gain provided by erbium ions can compensate for residual losses. Moreover it is possible to control the coupling regime of an ultrahigh Q-factor microresonator from undercoupling to spectral selective amplification by changing the pumping rate. We demonstrate a critically coupled fluoride glass WGM microresonator with a diameter of 220 μm and a loaded Q-factor of 5,3×109. We also show that by introducing slow-light effects in a monolithic WGM microresonator it is possible to enhance the photon lifetime by several orders of magnitude and circumvent fabrication limitations. We experimentally demonstrate Erbium-doped fluoride glass microresonators with a photon lifetime up to 2,5 ms at room temperature, corresponding to a Q-factor of 3×1012 at 1530 nm, by combining WGM resonance effect and population oscillations.

The aim of this thesis is to describe thoroughly the way Czech museums of art are using the principles of marketing communications nowadays. Theoretical part of the thesis presents brief history of modern museums worldwide as well as in the Czech Republic (with special stress on the network of regional galleries being founded in the second half of the 20th century. It also presents bases of museum marketing and the elements of integrated marketing concept applied on galleries. Terms of branding and fundraising are mentioned as well. The research part of the thesis contains the results of questionnaire survey among 10 representatives of Czech regional galleries. Each of the included museums of art is introduced with emphasis on their ways of using marketing communications principles. Their visual identities are also described and media monitoring analysis is added to all of them. We can say that the principles of marketing communications are anchored among Czech galleries; however they struggle with the lack of finance needed to concentrate more on such activities.

The aim of the project was to design a library with a gallery in the cadastral area of Nový Jičín – Horní předměstí of Bohuslava Martinů street. The main idea was to create a comfortable backdrop for students as well as the possibility of cultural education in the form of various exhibitions. The plan will be implemented according to the investor's requirements and will be in line with the land-use plan. This is a basement new building of the library with 2 above-ground floors. This large new building is in the shape of an irregular U. The building is based on a base plate. A combined wall and column construction system is used. The object is designed with a rasterized front lightweight perimeter casing with a front web-shaped facade

The aim of the master thesis is to provide visitors of various types of objects - typically galleries, museums, etc. with additional information about exhibited objects with emphasis on visual display in augmented reality. It includes an analysis of already existing solutions, design and implementation of the entire system needed for deployment. From the point of view of the content creator (administrator), the system represents a complex solution enabling the creation of an interactive walk - scanning 3D objects, scanning 2D objects and adding content to the given objects. On the other hand, the tool for visitors (users) who are part of an interactive walk, provides additional information about objects primarily located near the user, which are automatically detected by the camera on the mobile phone. Solution includes augmented reality, which is implemented using ARKit technology, so the final application is built on the iOS platform. The work addresses the issue of detection of 3D objects and their subsequent recognition, along with the way to work with this information, how to store it and then use it for purposes of this thesis. In the final solution, emphasis is placed on the simplicity of the usage (guide marks, hints...) and overall user experience.

The aim of the work is to find a suitable way and solution of mediating architecture and its broad themes into the lives of the public. To design an ideal space and suitable conditions for the popularization not only of architecture, but also of related fields such as art, landscape architecture and construction, where all these disciplines will be connected. The main part of the design is to find a suitable way to "transfer" architecture from large cities and those in which it is taught to regional cities or villages. This way of presentation and sharing would be carried out by mobile pavilions, which would create mobile studios. The entire system will be coordinated and managed by the building, where these mobile pavilions will be merged and modularized. The building will create a "center of architecture", where all functions will be combined. This centre serves as a complementary function to the schools of architecture, civil engineering, fine arts and landscape architecture. Thus, there will be cooperation between students across all disciplines with a place for presentation and exhibition to the public.

it is a newly built sacral building. The object is projected for a protestant church. The object lies in a town Kutná Hora, on a slightly sloping ground. The object is designed as free-standing building. There is a main gathering space on the first floor and other rooms for the social church life. There are three small apartments and the pastors apartment on the second and third floor. The ground-plan is L-shaped. The object has three sections. The first section is the tower, the second sections contains the gathering space which is orientated to the east and the third section contains apartments and remaining spaces, the main dominant of this section is the indoor built-on gallery. The object is covered with a flat roof. The building is designed from the brick construction systém of BS Klatovy company (concrete fittings)