The project Language of the Book Volume I-III explores the conceptual and the bodily experience of reading and making books. The essay presents the development of Volume I: Narracube consisting of three storytelling prototypes. With Narracube a format was developed that can invite stories to be told beyond single voices, linear time and fixed points of views. Narracube highlights the active role of a medium in transmission of a message. A book is never a neutral container for ink but an active space of communication in its mere contruction despite its content. / Projektet Bokens språk Volume I-III utforskar den konceptuella och kroppsliga upplevelsen av att läsa och göra böcker. Uppsatsen presenterar utvecklingen av Volume I: Narrakub som består av tre prototyper för berättande. Narrakub är ett format som utvecklats för att undersöka hur konstruktionen av boken kan bjuda in berättelser bortom enstaka röster, linjär tid och låsta perspektiv. Narrakub belyser den aktiva rollen som ett medium har då det sänder ett meddelande. En bok är aldrig en neutral behållare för bläck utan bär på ett aktivt kommunikationsutrymme i sin konstruktion oavsett innehåll.

The topic Modern Approaches to Designing Electrical Equipment with a Focus on Railway Construction responds to the decision of the Government of the Czech Republic to introduce the BIM method for government over-the-counter contracts from 1 January 2022. The government evaluated the BIM method as an effective tool for digitizing the construction industry. The diploma thesis deals with the method of designing high-current equipment, technologies and distribution on railways according to this new method. The work summarizes information about the present method of design, used high-current electrical equipment on the railway, the near and distant future of railway operation, the organization of administration and maintenance of equipment. It discusses the principle of the BIM method and basic software solutions supporting design activities according to this new method. The Promis.e software published by Bentley is also described in detail, which supports the design of electrical equipment for linear structures according to this method. The BIM method is a means of fulfilling the essence of Construction 4.0. It uses uniform data formats, a common data environment, working with non-graphic information. In the second part of the diploma thesis, the drawing documentation for the sample project of high-current distribution of the railway station was prepared. It was first created using AutoCAD software. After that, the sample project demonstrates the basic principles of the BIM method using Promis.e software. Furthermore, this project is evaluated, both methods of design are compared. The procedure of introducing the BIM method for the design of electrical equipment in a specific design company is proposed and other possible steps in working with the Promis.e software are discussed. The way of creating a and adding element libraries is described. At the end of the diploma thesis it is stated that to successfully master the design work according to the BIM method, it is necessary to have experience with design work in the field, know the principles of the BIM method, choose a suitable software solution, continuously and thoroughly manage these tools and train staff. Under these conditions, it will be possible to make full use of the potential of the BIM method.

This thesis describes the principles of making application which is able to set and control camera. The first part describes basic camera connections and it explains definition and specification of camera’s features. The second part of my thesis describes implementation of application, which can use more cameras to image preview, image acquisition and to simply set of camera’s features. To implement the applications we can use MATLAB and C++BUILDER uses opencv libraries.

A master thesis „Clinic of holistic medicine“ is processed as a project documentation. The building is projected for the plat no.170/1 in Kladruby u Vlašimy (Benešov district). Is a three-storyed wooden building from large-format wooden panels. Ceilings are ribbed constructions from spruce wood. Stairspaces are made of reinforced concrete. The house is roofed with a saddle roof made by woodentrusses. Stairspaces and machine room of air conditioning are roofed with a one-sheat flat roof. The project is planned as an extension of the Rehabilitation institute complex in Kladruby.

Useless things. I normally use trash things like pattern in painting still life. My father suffers from obsessive compulsive disorder – accumulation of things. In addition to painting, I also work with objects themselves. My interest also closely related to how the concepts of the subject, object and artifact are appliing in contemporary art. There are the tradition of imitation fact, principle of ready-made, the issue of technical reproducibility and virtual reality of things in history of art. As a central theme of my thesis, I selected the part of bodywork Tatra 613, which carries all the testimony about ,,useless and hopeless "situation in which it is located. It is also an object monumental and visually very aesthetic. Yet it is not my intention to settle for the principle of redy-made. Asked about artwork as intermediaries art and its seemingly useless producing and reproducing, I want to try to create another such usless situation. That's why I make a cardboard copy (1: 1) of this object. I also make video with motive 3D copy of the same object. I like to create some voltage between that useless object and valuable art practice. I think, it does not just mean such futility when these objects will be viewed as an art.

The final thesis is new building Basic school of art and music. The building is located in the urban area of Hronov. The building is divided into two wings. In one part of the building at 1 NP is mainly individual classrooms for play on an individual instrument. In the second part of the building is the concert hall, which is designed for orchestral rehearsal. The 2nd floor is mostly individual classrooms. In 3 NP is designed dance and ballet hall and individual classrooms. In the attic is a classroom for art education. The building has a partial basement. The building is planted on flat land. The building is brick from the system LIAPOR, overhead structures are made of panels SPIROLL, in the basement of a reinforced concrete slab. The roof construction is designed as a purlin roof and „hambalek“ purlin roofs made as saddle with a slope of 35 degrees.

Trotz eines verbesserten digitalen Zugangs zu wissenschaftlichen Publikationen in den letzten Jahren bleiben die Grundprinzipien der wissenschaftlichen Kommunikation unverändert und sind weiterhin weitgehend dokumentenbasiert. Die dokumentorientierten Arbeitsabläufe in der Wissenschaft haben die Grenzen der Angemessenheit erreicht, wie die jüngsten Diskussionen über das ungebremste Wachstum wissenschaftlicher Literatur, die Mängel des Peer-Review und die Reproduzierbarkeitskrise zeigen. Open Access ist eine wichtige Voraussetzung diesen Herausforderungen zu begegnen, aber auch nur der erste Schritt. Wir müssen die wissenschaftliche Kommunikation stärker wissensbasiert organisieren, indem wir wissenschaftliche Beiträge und verwandte Artefakte durch semantisch reichhaltige, vernetzte Wissensgraphen ausdrücken und miteinander vernetzen. In diesem Vortrag werden wir mit der Open Research Knowledge Graph Initiative erste Schritte in diese Richtung vorstellen.

Die Arbeit befasst sich mit der Entwicklung und Anwendung verschiedener Konzepte und Algorithmen zum skalierbaren Live-Streaming von Video sowie deren Umsetzung in der Media Internet Streaming Toolbox. Die Toolbox stellt eine erweiterbare, plattformunabhängige Infrastruktur zur Erstellung aller Teile eines Live-Streamingsystems von der Videogewinnung über die Medienverarbeitung und Codierung bis zum Versand bereit. Im Vordergrund steht die flexible Beschreibung der Medienverarbeitung und Stromerstellung sowie die Erzeugung von klientenindividuellen Stromformaten mit unterschiedlicher Dienstegüte für eine möglichst große Zahl von Klienten und deren Verteilung über das Internet. Es wird ein integriertes graphenbasiertes Konzept entworfen, in dem das Component Encoding Stream Construction, die Verwendung von Compresslets und eine automatisierte Flussgraphenkonstruktion miteinander verknüpft werden. Die für die Stromkonstruktion relevanten Teile des Flussgraphen werden für Gruppen mit identischem Zustand entkoppelt vom Rest ausgeführt. Dies führt zu einer maximalen Rechenlast, die unabhängig von der Zahl der Klienten ist, was sowohl theoretisch gezeigt als auch durch konkrete Messungen bestätigt wird. Als Beispiele für die Verwendung der Toolbox werden unter Anderem zwei waveletbasierte Stromformate entwickelt, integriert und bezüglich Codiereffizienz und Skalierbarkeit miteinander verglichen

[ES] El inicio de esta tesis doctoral parte de los trabajos de investigación desarrollados en el proceso de restauración llevado a término en el conjunto de pinturas de la Galería Dorada del Palau Ducal de Gandia. Se trata de un ciclo pictórico de gran formato instalado en el techo y realizado con la técnica al óleo sobre lienzo, en sustitución de lo que en realidad debería de haber sido solucionado con una técnica al fresco. Los condicionantes establecidos por su tamaño y ubicación comprometieron a través del tiempo su estabilidad, tanto dimensional como estructural, derivando el trabajo de restauración hacia la solución de estos problemas mediante el estudio de sistemas de entelado y testados a través de mediciones físico-mecánicas en el laboratorio. Esta, ha sido la finalidad de nuestra investigación, la de tratar de racionalizar los materiales y técnicas que participan de esta disciplina de la restauración sobre soporte textil, en orden a optimizar recursos de manipulación y soluciones a la siempre controvertida tarea de los entelados. Históricamente, estos procesos tuvieron su origen en Italia y Francia a finales del siglo XVII y comúnmente fueron realizados a través de la utilización de engrudos mediante mezclas de adhesivos naturales a base de colas de pasta, receta que fue rápidamente divulgada en todo occidente. Más adelante, en los Países Bajos, debido a las condiciones medioambientales y geográficas, se modificaron los ingredientes con la inclusión de mezclas de cera resina. Estas dos fórmulas básicas, fueron tomadas como patrón hasta bien entrado el siglo XX, donde a partir de la segunda mitad se empieza a experimentar e introducir paulatinamente los adhesivos a base de resinas sintéticas. Nuestro principal interés y aportación a través de la presente investigación ha sido el estudio de las antiguas técnicas de entelado, así como de sus alteraciones y problemáticas, para dar respuesta a las actuales necesidades en esta materia, y más concretamente en lo referente a las obras de gran formato. La fórmula a través del denominado entelado tipo sándwich ha sido la opción, que después de nuestro testado, ha respondido de forma más idónea a las expectativas abiertas. Mediante la incorporación de este estrato intermedio se ha pretendido alcanzar un nivel óptimo de estabilidad en el soporte, así como de reversibilidad de los tratamientos y, para evitar en última instancia, la interposición de texturas entre estratos. A través del testado de los tres grupos fundamentales de materiales que conforman este tipo de entelado, constituido por: estratos intermedios, tejidos de refuerzo y sistemas adhesivos, se ha elaborado un protocolo de acciones tendentes a la observación de las opciones de mayor garantía para su implantación. Se ha tratado de establecer en este sentido como resultado final, un modelo básico para atender las necesidades de estos sistemas extraordinarios, pero necesarios en los procesos de entelado de gran formato. / [CA] L'inici d'aquesta tesi doctoral part dels treballs de recerca desenvolupats en el procés de restauració dut a terme en el conjunt de pintures de la Galeria Daurada del Palau Ducal de Gandia. Es tracta d'un cicle pictòric de gran format instal·lat en el sostre i realitzat amb la tècnica a l'oli sobre tela, en substitució del que en realitat hauria d'haver sigut solucionat amb una tècnica al fresc. Els condicionants establerts per la seua grandària i ubicació van comprometre a través del temps la seua estabilitat, tant dimensional com estructural, derivant el treball de restauració cap a la solució d'aquests problemes mitjançant l'estudi de sistemes de reentelat i testats a través de mesures físic-mecànics en el laboratori. Aquesta, ha sigut la finalitat de la nostra investigació, la de tractar de racionalitzar els materials i tècniques que participen d'aquesta disciplina de la restauració sobre suport tèxtil, en vistes a optimitzar recursos de manipulació i solucions a la sempre controvertida tasca dels entelats. Històricament, aquests processos van tindre el seu origen a Itàlia i França a les acaballes del segle XVII i comunament van ser realitzats a través de la utilització d'engruts a partir de mescles d'adhesius naturals a base de cues de pasta, recepta que va ser ràpidament divulgada en tot occident. Més endavant, als Països Baixos, a causa de les condicions mediambientals i geogràfiques, es van modificar els ingredients a partir de la inclusió de mescles de cera resina. Aquestes dues fórmules bàsiques, van ser preses com a patró fins a ben entrat el segle XX, on a partir de la segona meitat es comença a experimentar i introduir gradualment els adhesius a base de resines sintètiques. El nostre principal interés i aportació a través de la present investigació ha sigut l'estudi de les antigues tècniques d'entelat, així com de les seues alteracions i problemàtiques, per a donar resposta a les actuals necessitats en aquesta matèria, i més concretament referent a les obres de gran format. La fórmula a través del anomenat reentelat tipus sandvitx ha sigut l'opció, que després del nostre testat, ha respost de forma més idònia a les expectatives obertes. Mitjançant la incorporació d'aquest estrat intermedi s'ha pretés aconseguir un nivell òptim d'estabilitat en el suport, així com de reversibilitat dels tractaments i, per a evitar en última instància, la interposició de textures entre estrats. A través del testat dels tres grups fonamentals de materials que conformen aquest tipus de reentelat, constituït per: estrats intermedis, teixits de reforç i sistemes adhesius, s'ha elaborat un protocol d'accions tendents a l'observació de les opcions de major garantia per a la seua implantació. S'ha tractat d'establir en aquest sentit com a resultat final, un model bàsic per a atendre les necessitats d'aquests sistemes extraordinaris, però necessaris en els processos de reentelat de gran format. / [EN] The beginning of this doctoral thesis is part of the research work developed in the restoration process carried out in the set of paintings of the Golden Gallery of the Ducal Palau of Gandia. It is a large-format pictorial cycle installed on the ceiling and made with oil technique on canvas, replacing what should have actually been solved with a fresco technique. The constraints established by its size and location compromised over time its stability, both dimensional and structural, referring the restoration work to the solution of these problems by studying entealing systems and tested through physical-mechanical measurements in the laboratory. This has been the purpose of our research, to try to rationalize the materials and techniques involved in this discipline of restoration on textile support, in order to optimize handling resources and solutions to the always controversial task of the entealing. Historically, these processes were originated in Italy and France in the late 17th century and were commonly performed through the use of paste from natural adhesive mixtures based on paste glues, recipe that was quickly disseminated throughout the West. Later, in the Netherlands, due to environmental and geographical conditions, the ingredients were modified from the inclusion of resin wax mixtures. These two basic formulas were taken as a pattern until well into the 20th century, where from the second half we begin to experiment and gradually introduce adhesives based on synthetic resins. Our main interest and contribution through this research has been the study of the old entealing techniques, as well as their alterations and problems, to respond to the current needs in this matter, and more specifically with regard to large-format works. The formula through the so-called sándwich type entealing has been the option, which after our testing, has responded more appropriately to open expectations. The incorporation of this intermediate layer has sought to achieve an optimal level of stability in the support, as well as reversibility of the treatments and, to avoid ultimately, the interposition of textures between layers. Through the testing of the three fundamental groups of materials that make up this type of entealing, consisting of: intermediate layers, reinforcing fabrics and adhesive systems, a protocol of actions has been drawn up with a view to observe the most secure options for its implementation. As a results, an attempt has been made to establish a basic model to meet the needs of these extraordinary systems, but necessary in large format entealing processes. / Robles De La Cruz, C. (2022). Estudio del comportamiento físico-mecánico de estratos intermedios en intervenciones generales del soporte textil en pintura sobre tela: aplicabilidad en el ciclo pictórico de Gaspar de la Huerta en la Galería Dorada del Palau Ducal de Gandía [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/183517 / TESIS

(EN) This dissertation provides a broad understanding of fundamental terminology and an inside view of the digitization workflow and quality control processes. The main foci are on quality assurance during and outside the digitization processes and identification of the most suitable format for access, long term preservation, rendering and reformatting issues. An analysis of selected digitization centers is also included. An application called DIFFER (Determinator of Image File Format propERties) and subsequently The Image Data Validator - DIFFER has been developed using results from previously conducted research. The application utilizes new methods and technologies to help accelerate the whole processing and quality control. The goal was to develop a quality control application for a select group of relevant still image file formats capable of performing identification, characterization, validation and visual/mathematical comparison integrated into an operational digital preservation framework. This application comes with a well-structured graphic user interface, which helps the end user to understand the relationships between various file format properties, detect visual and non visual errors and simplify decision-making. Additional comprehensive annexes, describing the most crucial still image...