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Pirmoje darbo dalyje buvo apžvelgtos svarbiausios vizualinės estetikos suvoktys, apibrėžta estetikos raida iki televizijos, sovietiniais ir nepriklausomybės dešimtmečiais. Šiais laikais suprantama kaip vertybių teorijos subdisciplina, estetika glaudžiai siejama su meno filosofija. Vizualumas yra tapęs išskirtine estetinio vertinimo žyme. Sovietinė ideologija nemažai įtakojo vizualinės estetikos vystymąsi, buvo nemažai suvaržymų, apribojimų (negalima buvo naudoti trispalvės spalvų dekoracijose, išskirtinių aksesuarų, margų drabužių ir pan.), techninė bazė, lyginant su šiomis dienomis, buvo skurdi, tačiau tiek televizijos laidų temose, tiek jų vizualioje raiškoje buvo juntama tam tikra estetinė dermė. Nepriklausomybės laikai siejami su ženkliomis permainomis visose Lietuvos kultūrinio gyvenimo sferose, neišskiriant ir televizijos. Pasikeitė ir vizualiosios estikos kūrėjų darbo specifika ir galimybės. Susikūrus komercinėms televizijoms reikėjo kurti savo kūrybines grupes. Taip televizijos vizualiojo meno kūrėjai įgavo naujų kūrybinių galimybių savirealizacijai ir kūrybai. Antroje dalyje aptartos televizijos vizualinės estetikos segmentų – kostiumų, grimo, dekoracijų ir užsklandų tendencijos, atsižvelgiant į šiuos veiksnius: politines aktualijas, technines bei technologines galimybes, finansinę televizijų padėtį, mados tendencijas, kūrėjų profesionalumą, televizijos savininkų, prodiuserių požiūrį į kuriamą produkciją. Teoriniu, istoriniu ir praktiniu požiūriu buvo išnagrinėta... [toliau žr. visą tekstą] / The aim of the master’s degree thesis “ The Development Outline of the Lithuanian television's visual aesthetics (1957-2007)” is to outline the development and highlight the peculiarities of visual aesthetics in the Lithuanian television. The position of the artist (costume designer, scenographer, make-up artist, dresser) as well as his/her contribution to the telecasts in the Lithuanian television have been analyzed in theoretical, historical and practical terms. The topic of the research covers the following: the analysis of of the visual aesthetics features in the Lithuanian television in a particular period; the analysis of specific aesthetics in different kinds of the telecasts; highlighting the peculiarities of the visual aesthetics based on the analysis of different segments of the telecasts. The Lithuanian television has always mirrored political, cultural and economical events of a particular period. This also applies to the visual aesthetics, the analysis of which is the main issue of the paper. In a 50-year development of the Lithuanian televisions’ visual aesthetics, technical, technological and professional growth of the artists has become obvious. In the conclusion, the hypotheses provided in the paper are highlighted. In the first considered period the emphasis is on the professionalism and aesthetic whole of the telecasts. In the second period competativeness and commercialism, along with the growth of technological, technical and financial possibilities... [to full text]

The diploma thesis is primarily devoted to the study of contemporary aesthetics of astronomical photography. The term astronomical photography means two different, but at the same time dependent facts. The term is covering a field of scientific images of astronomical research, which is primarily intended for a narrower group of professionally trained observers, but on the other hand, we also look at the images of planets, stars and nebulae commonly encountered by the broad lay public in the media. These images act as trusted photographs, but in fact, the initial quantitative data is practically transferred to visual scenes in accordance with the conventions of photographic aesthetics. Image aesthetization was taking place at a time when astrophotography worked primarily with photo plates. New ways of detecting and visualizing, relying on digital data processing and digital image processing, transform these traditional techniques and techniques, but at the same time they continue to do so: they continue building the specific aesthetics of astronomical photography.

This thesis is concerned with the issue of biotechnical objects in the landscape. Biotechnical objects are built to protect species biodiversity. They replace the natural refuge of certain groups of animals. The first chapters on the protection of nature and state of habitats in the Czech Republic explain the reasons why many habitats are endangered or extinct. In a second stage the proposed classification of biotechnical objects follows. Three ways of looking at sorting them are introduced. They reflect the open landscape, the private sector and the urban area residences. Finally the description of construction, materials and suitable locations is presented for 20 biotechnical objects. Their arrangement corresponds to the classification by target species. The part of the thesis is a case study which is based on the field research in the years 2013-2015, when the implemented biotechnical objects were visited. The result is a comprehensive evaluation of the functionality of selected objects and their aesthetic influence.

Modern art in landscape Summary The subject of the thesis is landscaping with the use of modern arts. In the first part it focuses on correct interpretation of key words such as landscape, art and culture. Those areas are then analysed from the point of view of historical context . Mutual interaction of two seemingly different subjects such as landscape and modern art is analysed and closely inspected. It is necessary to take into account all approaches to landscaping to be able to implement modern element into the landscape. In the first part the thesis analysis the evaluation of landscape character and landscape As a whole; how landscape influences people an what are its values. Preservation of the landscape and it's attributes depend On defying It's nature protection. Part of the thesis focuses on those subjects as well, legislative as well as natural protection of nature. What could today's landscape offer is disscused in the part of the thesis concerning values of the landscape, how the landscape is perceived and what is the esthetic value of landscape. Landscaping in today's modern era encompass entwining historically significant At the same time necessary and for the future unavoidable element so its functional and esthetic values Are preserved for future generations. The model example solves such entwining of historical landscape and proposed motorway. There is a thread of fragmentation of the landscape and its use not only for local inhabitants and eco systems. At the same time modern art is applied as a means of unification. The art is becoming a tool which is capable to recharge landscape. Art reconnects the fragmented landscape and brings other values for future generations. The case study suggests Last art trends applied to the landscape. During the disscusion it brings a summary of expressive funds and techniquies. Here the thesis also conveys a thought of current tendency of modern art. The output of the thesis is besides the model project a methodical procedure. A proposal of methodical instalation of an element of modern art into landscape. Keywords: modern, art, landscape, concept, esthetics, perception.

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The paper strives to highlight the common points between philosophy, theology and aesthetics, it is trying to demonstrate where and how these disciplines overlap, based on the view of Anglo-American authors. It consists of four main thematic sections. The first section is called The Relationship Between Philosophy, Theology and Aesthetics, the second one is The Debate in Anglo-American Aesthetics, the third section is titled The Debate in Anglo-American Philosophy, Religion and Art, and the fourth section is called The Debate in Anglo-American Theology. The author puts the greatest emphasis on the artistic, aesthetic area, as it is closest to us. Art is for the author the foundation and inspiration, the key to the link between the earthly and the divine nature, the cultural and religious areas, as Paul Tillich says.

This work is an attempt of interpretation of philosophical views on art of Czech philosopher Jan Patočka, as outlined in its raw form in philosophical writings so called strahovská heritage. Strahovská heritage is a collection of so far unpublished philosophical writings, written approximately in the period of 1939 to 1945. These have never been submitted for publication. Philosopher Jan Patočka - in Czech as well as abroad is generally known mainly as a thinker developing thoughts of his famous teachers Edmund Husserl and Martin Heidegger - in the framework of heritage only refers to dilemma of art in a secondary way. Despite this, some referrals to art, which can be found within the framework of this heritage, contain a great potential for further interpretation. Interpretation of these Patočka references to art are required to be put into the wider context of Patočka's thinking and especially adds to understanding of evolution of Patočka's philosophy of art. Patočka's philosophy of art was only fully extended in his later works, namely 1960's of XX. century.

The aim of this master thesis is to analyze the role of the concept of pure intentional object in aesthetics of Roman Ingarden. This analysis allows to avoid the problem of traditional aesthetical intepretations of Ingarden's maybe most important aesthetical work called The Literary Work of Art, in which this important work become a rupture in the whole of Ingarden's work.

This work retrieves an conception of musical semantics in the work of Vladimír Karbusický. It consists of three parts. The first one focused on Karbusický's works Beethovenův list "An die unsterbliche Geliebte" a jeho hudební dílo [Beehtoven's letter "An die unsterbliche Geliebte" and his musical work] from the year 1969 and Podstata umění [The essence of art] published in the same year, which presents characteristics of four components of arts situated into an quadripolar ontological model of arts. This model is motivated by the structuralism of Jan Mukařovský and by an asemantic nature of musical forms. The poles of this model represent a subject, an object, a material and a society, and create a web of relations between each other. This way they create a field of interaction governed by dynamical and energetic forces. The respective components arise from the relation of a subject to the other poles, and they are divided into semantic and asemantic ones. Among the semantic components we put a picture, an expression and a symbol; the asemantic components are defined by a game and a construction. The second part deals with Karbusický's critical attitudes to a theory of reflection, to an application of a one-sided semiotics to music, and to considering music and language the same. The theory of...