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The diploma thesis concerns static project of chosen parts of load-bearing structure four-storey multifunctional building. It´s frame structural systém locally supported colomns. The thesis suggests floor slab above ground floor including punching, colomn, foundation pad, basement wall, loaded soil and strip foundation. Every element was judged by load-bearing capacity, designed reinforcement and made drawings of reinforcement. Calculation of internal forces is made by finite element method of the program dlubal RFEM.

The aim of the thesis is the design and assessment of selected elements of a new build multi-storey office building. The supporting structure of monolithic reinforced concrete skeleton is modeled SCIA Engineer and burdened set load cases and combinations. The outputs of the internal forces of the calculation program are dimensioned selected elements. Selected elements include locally supported slab, columns, column shoes, basement wall and footing still. The thesis is selected reinforced concrete elements assessed on the ultimate limit state. The output of this work is static calculation of individual elements. Another part of the output consists of drawings solved elements.

My diploma thesis concerns itself with the depiction of the still life, in particular the type known as "vanitas", symbolizing the transience of human life. I focus on several artists working in Italy, France and Netherlands during the 17th century - Salvator Rosa, Simon Renard de Saint Andre, Jan Davidsz de Heem, and Nicolaes van Verendael - and explore their influence on the Czech artists Johann Adalbert Angermeyer, Jan Kaspar Hirschely, and Vaclav Vavrinec Reiner, who dealt with the same topic.

After dedicating over two years to pursuing an MFA degree focused on ceramics and sculpture, I find myself transported back to a familiar setting from my past: a tableau reminiscent of what remained in the dining space after four young children finished a meal and exited the room. Revisiting the scene recalls happy times despite the disorder. What helped maintain my sanity during the relentless repetition of the every-day-long task was the realization that every day, innocents are learning to become aware of the world around them. For my thesis exhibition, I created a tableau as a loud reminder of those messier times in my home. My exhibition features an oversized wooden toddler's chair and table, surrounded by scattered meal-time remnants exaggerated in scale predominantly crafted from ceramic. The food items are strewn about in seemingly random arrangements, creating a chaotic still life. Perhaps the disproportionate size of the furniture and the disorderliness subconsciously acknowledge the monumental challenge of caring for children, a task that once felt never-ending but has since become a distant memory. Viewers may find solace in the mundane subject matter and in the ease of recognizing the familiar elements on display.

L’immense panoplie d’ouvrages et de travaux consacrés tant au cinéma qu’au jeu vidéo s’évertue très souvent à examiner une œuvre quelle qu’elle soit dans son ensemble, ou à relier des motifs similaires entre plusieurs cas pour en dégager des concepts, des notions et des lignes théoriques. Plus rarement la question des plans, des segments bien spécifiques d’un film ou d’un jeu a été abordée, en particulier les fragments ou les détails se plaçant en porte-à-faux par rapport à la continuité habituelle du reste de l’œuvre. Soudainement, ce personnage d’apparence statique en avant-plan contemple une temporalité affolée en arrière-plan, ou une section de ce film génère de la curiosité vis-à-vis du reste de sa narration. Ces points spéciaux étonnent, surprennent, et attirent l’attention en se demandant quelle est leur fonction aussi bien narrative qu’esthétique. La philosophie antique et ses synthèses contemporaines inspirent un terme, celui de « résistance vitaliste » qui ne frictionne qu’avec une section de la structure sans en chambouler les fondations, dans le seul but de manifester son existence, mue par la volonté de se déclarer au grand jour. Les conséquences sur les protagonistes de l’histoire n’en sont pas moins négligeables, car ces segments spéciaux requièrent également une attention de leur part, et alimentent leur désir de résister à leur tour, tantôt dans l’alignement esthétique de ce point de l’œuvre, tantôt contre. La même philosophie antique désigne dans pareil cas de figure une démarche de délibération, de jugement du pour et du contre, première phase essentielle pour entrer en résistance. Le héros devient alors Sage – également d’inspiration antique –, un être apte à éclairer les zones obscures et à percer l’apparente stabilité de l’autorité en place en s’attaquant à ces nœuds névralgiques. La présente thèse s’accordera à déplier cette analyse sur quatre chapitres qui l’emmèneront du particulier au général, en considérant la matière filmique même et l’entité enregistreuse (la caméra) en première instance, avant de passer aux relations entre la matière du médium et le personnage qui s’en délie, puis aux fragmentations des univers diégétiques en présence, pour enfin questionner le contexte global dans lequel l’œuvre est nécessairement saisie, fournissant les clefs de la résistance par « guérilla ». La délibération, le Sage et la résistance seront constamment au cœur des préoccupations, dès lors que le Diable se cache dans les détails. / The tremendous amount of academic papers dedicated both to cinema and video games often examine any work through its general structure, or link similar motives between several examples in order to conceptualize notions or theoretical frames. The problem of shots, or of specific fragments in a film or a video game, has been rarely questioned, particularly some peculiar details that stick out and go against the overall flow of the work involved. For instance, a static-looking character in the foreground of a picture gazes at another kind of temporality in the background (in slow or fast motion, for example), or a section of a film seems aesthetically odd compared to the rest of the narration it is inserted in. Those special bits tend to surprise the viewer, and attract their attention whilst the latter wonders about both the narrative and aesthetic role of those fragments. The antic philosophy and its modern synthesis inspire the concept of “vitalist resistance”, designating a contradictory element (even a counter-element) in one or a couple of parts of the whole structure without intending to make its foundations collapse, for the sole purpose of manifesting itself, motivated by the desire to exist in plain sight. The consequences on the protagonists of the story are far from being insignificant, since those particular segments call out to their attention as well, and incite them to resist, either alongside the aesthetic involved, either against. In such case, the same philosophy points out the necessity of making decisions, judging the pros and cons as the essential first step to resisting. The hero thus becomes a Sage – inspired by the antic philosophy as well –, in other words, an individual capable of enlightening obscure parts of the world and shaking the apparent stability of the present authority, by mincing onto those delicate bits. This thesis spreads out its analysis over four chapters that will develop the actual subject from the particular to the general, first by considering the film matter itself and the recording entity (the camera), before examining the connections between that matter and the character who unbinds himself from it, the shattering of diegetic universes, and finally the global context in which the work (film or video game) is inevitably set in, leading a “guerilla” kind of resistance. The process of decision making, the Sage and the resistance will all be at the very heart of the present work, since the Devil lurks in the details.

The existing world is becoming more disrupted and is falling apart. For its resurrection and restoration, a new way of thinking is necessary. This new type of thinking is needed to be able to open up its mind and to think about the process of thinking itself; it must understand what is happening in other systems, where processes seem to be taking place by themselves without any other visible interference. First Chaos is the title for an intermedia installation which contains 90 black and white photographs, both digital and analogue, all of which were taken between the years 2008 and 2012. Together, the photographs create one coherent piece – a kind of sculpture. They can evoke a "still film" with a non-linear, cyclical storyline, whilst the images can simultaneously function individually, without any connection to other photographs.

Contemporary Canadian prairie women poets write about the mother figure to counter maternal suppression and the homogenization of maternal representations in literature. Critics, like Marianne Hirsch and Andrea O’Reilly, insist that mothers tell their own stories, yet many mothers are unable to. Daughter and mother stories, Jo Malin argues, overlap. The mother “becomes a subject, or rather an ‘intersubject’” in the text (2). Literary depictions of daughter-mother or mother-child intersubjectivities, however, are not confined to auto/biographical or fictional narratives. As a genre and potential site for representing maternal subjectivities, poetry continues to reside on the margins of motherhood studies and literary criticism. In the following chapters, I examine the writing strategies of selected poets and their representations of mothers specific to three transformative occasions: mourning mother-loss, becoming a mother, and reclaiming a maternal lineage. Several daughter-poets adapt the elegy to remember their deceased mothers and to maintain a connection with them. In accord with Tanis MacDonald and Priscila Uppal, these poets resist closure and interrogate the past. Moreover, they counter maternal absence and preserve her subjectivity in their texts. Similarly, a number of mother-poets begin constructing their mother-child (self-other) relationship prior to childbirth. Drawing on Lisa Guenther’s notions of “birth as a gift of the feminine other” and welcoming the stranger (49), as well as Emily Jeremiah’s link between “‘maternal’ mutuality” and writing and reading practices (“Trouble” 13), I investigate poetic strategies for negotiating and engaging with the “other,” the unborn/newborn and the reader. Other poets explore and interweave bits of stories, memories, dreams and inklings into their own motherlines, an identification with their matrilineage. Poetic discourse(s) reveal the limits of language, but also attest to the benefits of extra-linguistic qualities that poetry provides. The poets I study here make room for the interplay of language and what lies beyond language, engaging the reader and augmenting perceptions of the maternal subject. They offer new ways of signifying maternal subjectivities and relationships, and therefore contribute to the ongoing research into the ever-changing relations among maternal and cultural ideologies, mothering and feminisms, and regional women’s literatures. / May 2016

Training a Support Vector Machine (SVM) requires the solution of a very large quadratic programming (QP) optimization problem. Sequential Minimal Optimization (SMO) is a decomposition-based algorithm which breaks this large QP problem into a series of smallest possible QP problems. However, it still costs O(n2) computation time. In our SVM implementation, we can do training with huge data sets in a distributed manner (by breaking the dataset into chunks, then using Message Passing Interface (MPI) to distribute each chunk to a different machine and processing SVM training within each chunk). In addition, we moved the kernel calculation part in SVM classification to a graphics processing unit (GPU) which has zero scheduling overhead to create concurrent threads. In this thesis, we will take advantage of this GPU architecture to improve the classification performance of SVM.

<p>Proučavane su koroziona postojanost i tendencija lepljenja različitih<br />materijala u kontaktu sa tečnom Al&ndash;Si&ndash;Cu legurom. Ispitivanjem su<br />obuhvaćeni čelik za rad na toplo, plazma nitrirani čelik i dupleks<br />slojevi sa CrN, TiAlN, TiAlSiN i CrAlN prevlakama, različitog nivoa<br />površinske hrapavosti. Za ispitivanja pomenutih fenomena<br />primenjena je metoda izvlačenja, koja je unapređena kako bi se povećale<br />njena tačnost i verodostojnost simulacije procesa livenja. Korozioni<br />efekti su pojačani tako što su uzorci osim kratkog kontakta sa odlivkom<br />zadržavani i u dužim periodima u kontaktu sa tečnom legurom (5 i 20<br />min). Uprkos opštim stavovima, za ispitivane materijale je<br />ustanovljeno da su sile izvlačenja uzoraka iz Al&ndash;Si&ndash;Cu odlivaka<br />nezavisne od njihovog hemijskog sastava. Uticaj hrapavosti je izražen<br />kod uzoraka sa prevlakama kod kojih pri smanjenju hrapavosti dolazi do<br />povećanja sile izvlačenja. Sve ispitane prevlake su sklone mehaničkom<br />lepljenju Al&ndash;Si&ndash;Cu legure za svoje površine, ali sa aspekta korozije u<br />tečnom metalu značajno prevazilaze performanse čelika i plazma<br />nitriranog sloja. Duži kontakt livene legure sa površinama prevlaka<br />uzrokovao je niže vrednosti sila izvlačenja, što je posledica<br />oksidacije površina prevlaka. Ustanovljeno je da su ispitivane<br />prevlake inertne ka tečnoj leguri aluminijuma. Međutim, dolazi do<br />oksidacije i korozije materijala podloge kroz greške rasta koje su<br />prisutne u prevlakama. Stečena znanja o identifikovanim<br />mehanizmima habanja i propadanja zaštitnih slojeva prevlaka<br />poslužiće daljem razvoju dupleks slojeva namenjenih za zaštitu alata<br />za livenje pod pritiskom.</p> / <p>Corrosion resistance and soldering tendency of different materials in molten<br />Al&ndash;Si&ndash;Cu alloy were studied. Hot-working tool steel, plasma nitrided steel and<br />duplex layers with CrN, TiAlN, TiAlSiN and CrAlN top coatings, which were<br />produced to various degree of surface roughness, were covered by the study.<br />An ejection test was employed for investigation of the concerned phenomena.<br />The ejection test was improved in order to increase its accuracy and the<br />reliability of process simulation. Samples were examined in both short and<br />extended periods of contact (5 and 20 min) with liquid casting. Casting<br />solidification was extended in order to intensify the corrosion effects. Contrary<br />to common findings, it was found that the ejection force of the investigated<br />materials does not depend on their chemical composition. For the coated<br />samples, a pronounced dependence of the ejection force on the surface<br />roughness was found. The ejection force increases with decrease in surface<br />roughness. All investigated coatings are prone to mechanical soldering by Al&ndash;<br />Si&ndash;Cu alloy. Still, their corrosion resistance substantially exceeds the corrosion<br />resistance of steel and plasma nitrided layer. Longer exposure of coated<br />samples to cast alloy induced lower ejection forces, which is a consequence<br />of coatings oxidation. It was found that the investigated coatings are inert to<br />liquid aluminium. However, the underlying material undergoes oxidation and<br />corrosion through coating growth defects. The findings concerning the wear<br />mechanisms of protective layers support further development of duplex layers<br />intended for die casting tools protection.</p>