No description available.

Thesis (M.A.)--Western Washington University, 2010. / Includes bibliographical references. Also issued online.

Rokosová Magdaléna: Plastic Age - plastic as a legitimate part of the arts and art education [thesis], Prague 2015 - Charles university in Prague, Faculty of education, department of art This diploma thesis is focused on mapping the potential of synthetic or semi- synthetic polymeric materials as specific means for fine art and art education. The theoretical part summarizes the crucial moments and the possibility of using plastics in applied arts (design) as well as in free creation and their everyday use in various fields and the resulting significant determination of our lives with these materials, including adverse effects on human health and our planet. Didactic series uses the appropriate means with regard to addressing the topics and the target group of pupils in second level primary school. It gently draws attention to the amount of plastic waste produced, and also presents the possibility of using these materials for creative work. The artistic section is focused on original works of fine art with the use of synthetic materials and verifying their expected potential. Its content is mainly engaged in the contrast of artificial and natural world and the question of whether these two seemingly distant worlds are really separable.

Most of the work on photography is about image and trying to understand photography as an image. Contrary to this approach, this paper deals with the experience of the photographer at the time of taking the picture, and also the influence of photography, understood as a medium, on our perception. The main topic is the photography of movement, where we can best demonstrate how photography changes both our perception and our understanding of (objective) reality. The beginning of the work is devoted to one of the greatest Czech photographers, Josef Sudek, who describes the method of his work. Sudek's definition of the moment involved in taking the picture is "when everything fits together"; the impossibility of returning to the same moment is a central feature of photography as presented in this work. Consequently, the basis for the thesis is that (1) photography and camera change the way we perceive, and that (2) photography is an actualization of the possibility of how we see what we see. The actualization of the possibility is discussed mainly in the context of Barbara Probst, whose work "Exposures" fundamentally enters the history of photography, and who - once again - does not put emphasis on the image but rather on the photographer as the creator of the image.