The main aim of my Master diploma work will be an?? effort to describe the Art Market and especially the position of photography into it. When photography began to be part of the Art Market and why? Is the entry of photography in the Art Market a reason for a change of the photographic discourse and further more is that a fact by itself which can affect the aesthetics of photography. How photography has been affected visually, thematically and even the way of the installation of the photographic image? Is it true the hypothesis which says that as bigger the size of the photograph as much bigger art it is? "Art is about life, the art market is about money." Damien Hirst said. Is that so? Or maybe nowadays art is only about money. Has art market and art become one? The above questions are some of the elements which are going to constitute the research of my diploma work.

The thesis focuses on observation of resemblance, exploration of the identical and the different. At first, it considers analogy and comparation in a complex approach focusing on philosophy, logic, mathematics and linguistics. At the same time, resemblance is perceived in close connection to representation and image, semiotics, iconology, iconography, photography and processes ? as well as related concepts, such as mimesis, reference, representation, transformation, simulation, virtuality and hyperreality. The final part is concerned with resemblance and its effect on typology, original and copy ? identity, perceiving of authenticity and the function of memory. The key concepts are: non-causality of resemblance, analogy of proportionality in contrast to analogy of proportion, visual thinking and functionality of memory, resemblance as the basic power of image, and transformation as the principal form of representation.

Master thesis concerns reflection of Sociology of Housing in Photography. It is divided into three sections with different approach. Introduction section examines mutual relation between sociology and photography as two modern research fields. The second chapter addresses sociological approach of photographers and movements in history of photography. Concluding chapter attempts detailed sociological analysis of work of contemporary photographers and artist from our geographical area, which reflects housing theme. This analysis employs sociology of housing knowledge.

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.

The thesis deals with photography and its related patrimonial rights, and processes these

The thesis describes and analyses post-documentary photography with emphasis on contemporary Chinese theory and practice. The traditionally defined documentary function of photography has been challenged on many sides and the technology growth of the new media has caused the structural change of photographic language. Documentary function, the core characteristics of photographic language, is rapidly falling apart in this change. As an imported tool, photography has taken a special road in its growth in China. For well known ideology reasons, the documentary function of photography has displayed some very peculiar changes in its traditional past as well as in globalized China today. This paper will try to analyze various causes that influence the documentary function of photography, compare political and cultural differences and show the post-documentary characteristics of contemporary Chinese photography.

Master’s thesis analyses the attitude of young female artists, who mostly work with photographic medium, primarily presenting their art works by digital tools, via online platforms. The intention of thesis lies in examination of the group of young female artist, connected by The Ardorous collective, whose members are automatically perceived as feminists, who insist on equality for women in the art world. It also analyses working approach of collective’s founder Petra Collins, as well as some of its most noteworthy members, and contemplates on ideological means leading to their final works. Thesis also describes approach not only to the art practicing, but to the entire constructing of its own public image, by comparing The Ardorous with the british female collective of alike intentions, Bunny Collective. Hypothesis of designated artists are partly interpreted with fragments of text by french creative collective Tiqqun, named Preliminary Materials For a Theory of the Young-Girl [2007, Semiotext(e)].

Analysis of the texts written about Jeff Wall. Exploring the relationship between texts about Wall and his own essays about his work. Looking for some links or some conflicts between texts. Studying structure of the main topics discussed in essays about Wall and his own written replies to these topics. Wall's position on the art scene based on literature.

The code assigned to the subject, entering into interactive environment, is setting and determining its future existence. In the virtual environment, the absence of a numerical description makes a subject untrackable. Only by assigning a unique code does the affair begin to exist for the computing world. After receiving the code, the subject somehow comes to life, becoming recognisable, categorised, searchable - possessing existence. Every environment we are situated in can be perceived as panned and scanned. Cameraless photography, we meet in a moment of our existence, in an artificial space. We are scanning and at the same time we are being scanned. In the process of scanning and taking pictures, what part is the human playing? A person who can be seen as a tool of cameraless photography? Is he following the rules, or creating them? Or, is he himself a tool to the process of cameraless photography? Is he the individual who determines and recognizes the point that is set for the existence and meaning of cameraless photography?

A comparement of art and pornography from a theoretical and philosofical point of view.