National Repository of Grey Literature 8 records found  Search took 0.01 seconds. 
Three years long investigation of fishpond Dehtář - first fishpond in the NETLAKE COST action project
Potužák, Jan ; Šumberová, Kateřina ; Fránková, Markéta ; Fabšičová, Martina ; Ducháček, M. ; Císař, K. ; Duras, J.
In 2014–2016 we monitored basic environmental parameters in the fishpond Dehtář near České Budějovice (Czech Republic) using system of sensors. Among other parametres we studied for instance water chemistry and phyto- and zooplankton community biomass, and species composition. Thank to the method used we recorded strong fluctuations in some of the environmental parameters, parrticularly in oxygen concentrations. Thank to the integration of the auomatic high frequency monitoring using the sensor system along with traditional research methods we were able to interpret the marked ecosystem changes. Several factors participated in the several days long oxygen depletion: warm and calm weather, later interchanged by cold front accompanied with mixing of water column and cloudy sky, fish farming management (high amount of nutrients related to manuring) and changes in biomass of phytoplancton (fast decomposition of high biomass amount of cyanobacteria). Our results enable to prevent similar situations in future, by e.g. lowering of nutrient input.
Aristotle's conception of space: Phys. IV 208a27-213a11
Císař, Karel ; Kouba, Pavel (advisor) ; Thein, Karel (referee) ; Mráz, Milan (referee)
Aristotelovo zkoumání bytnosti místa z Fyziky IV 1-5 se stalo předmětem polemické diskuse již v textech jeho starověkých komentátorů. N arozdíl od jiných témat se navíc takřka žádný z nich nepokusil Aristotelovo pojetí místa hájit. Uzavírá-li Aristotelés své zkoumání definicí, podle které je místo "první nepohyblivou hranici obklopujícího tělesa", a vymezuje je tím jako dvojrozměrnou nepohyblivou mez, v níž se s umístěným tělesem stýká obklopující těleso či agregát těles, většina jeho následovníků má místo za trojrozměrnou rozlehlost. Jak víme ze Simplikiova svědectví, již Theofrastos poukazoval na obtíže spojené s dvojrozměrností a nepohyblivostí místa, i na skutečnost, že ne všechno bude podle této definice v místě. 1 Novoplatónští komentátoři se zase zaměřovali na Aristotelovo odmítnutí možnosti připsat místu příčinnost, což se podle nich neshodovalo s Aristotelovou koncepcí vlastního místa.2 Dalším zdrojem obtíží je pak zdánlivý vnitřní rozpor mezi jednotlivými koncepcemi místa, které Aristotelés zastává v různých spisech. V Kategoriích je místo vykládáno v kontextu nepřetržité kvantity jako trojrozměrná rozlehlost soumístná s tělesem. 3 Ve spisu O nebi Aristotelés pracuje s koncepcí vlastních míst, jejichž směrem se pohybují jednoduchá tělesa. Lehký oheň se pohybuje nahoru a těžká země dolů, zatímco...
Fata morgana of proximity. Photograpy of works of art in thirties Czechoslovakia and by Josef Sudek
Kratochvílová, Hana ; Lahoda, Vojtěch (advisor) ; Císař, Karel (referee)
The thesis deals with different theories of photography of art works, especially those formulated by André Malraux and Walter Benjamin. In the thesis, they are confronted with more recent approaches. The first part characterizes the general principles of photography of art works. It unveils the fundamental antagonism between objectivity (based on the indexical character of photography) and subjective intervention of the photographer. It also stresses the different functions of photography as means of art reproduction and mass propagation, which could often lead to political abuse. Last but not least, it emphasizes the important role which photography of art works has played in art history as a scientific discipline. The second part of the thesis is based on various case studies. The examples from thirties Czechoslovakia (Fotografie vidí povrch, Malba a malířský rukopis, Česká galerie edition, Československé malířství a sochařství nové doby) are dedicated to the various functions of photography of art works and Josef Sudek's photographs illustrate its principles.
For history of exhibitions. Retro-perspective, archive and migration of forms
Císař, Karel
In her 'View of Modernism,' the groundbreaking study from 1972, Rosalind Krauss takes on the work of the critic Clement Greenberg. Forty years later, Krauss' Under Blue Cup (2011) challenges Catherine David, the curator of documenta X. This change in Krauss's choice of opponents is not incidental and testifies to the widening of art-historical research. David approached the documenta X exhibition (1997) as a cinematographic sequence of artworks, questioning the 'white cube' of the traditional museum and the politics of identity, which Krauss's book defends. The fact that Krauss decided to test her views against a curator rather than a fellow critic or art historian is even more significant. It shows the transformation of art, a process which Krauss herself helped to bring about in the 1970s. As the artwork gave up on the specificity of its means of expression and started opening up to external conditions, the importance of individual artworks weakened in favour of the exhibition as a whole. This is one of the reasons why the history of contemporary art has increasingly become a history of exhibitions rather than a history of styles and individual artworks.
Appropriation as a Theoretical Object
Císař, Karel
The article is concerned with theories of appropriation in the critical discourse of Benjamin Buchoh, Douglas Crimp and Crais Owens.
Visual Communication
Stecker, Marcel ; Císař, Karel (advisor) ; Silverio, Robert (referee)
My bachelor thesis is seeking relevant relationship between a photography and a painting. I am analyzing first part of Rosalind Krauss?s text Notes on the Index and I?m trying to apply her scheme of clash of two differently coded communications on other examples from history of art. I?m describing different levels of art piece The New Painting, which is the continuous link in my thinking. In this series is Elina Brotherus touching the relationship based on visual analogy, which I consider lame and at the same another relationship, which I consider relevant. In terms of this relationship I put digitally manipulated photography in the correct context and I am explaining, why it did not fundamentally change or flatten relationship between painting and photography. In the second part of the thesis I deal with the importance of author?s style in fine art and photography. I am comparing Matthias Grünewald?s Isenheim Altarpiece with a contemporary piece The Stations of the Cross made by Damien Hirst and David Bailey.
Diverse Comics´ World And Other Pictures Of Sequential art
Ryška, Pavel ; Pospiszyl, Tomáš (advisor) ; Petříček, Miroslav (referee) ; Císař, Karel (referee)
Today comics are not only depreciated or acclaimed items of show business, but they also in many cases reflect facts that contributed to the formation of both American and European culture and history.

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3 Císař, Karel