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Narrowly
Sádecká, Lucia ; Králíková, Lucie (referee) ; Mazanec, Martin (advisor)
Len len is about the process. Originating in environmental issues and reflecting the processuality of the creation of a work of art. Processes from production to product, from tradition to the present, from memory to experience, from fast to slow, from imperfection to perfection, from the impersonal to the personal, from beginning to end. I deal with work with textiles as a classic medium, while I devote myself to the cultivation of flax as the original, in our country, raw material for the production of textiles. From the beginning, I watch carefully as it grows, I take care of it and I patiently expect the time of collection and subsequent processing. This phase is very important for me, as it brings with it various procedures, applied in old proven technologies, in interaction with people from whom I learn the craft and who shape the whole process, but especially from behind, observe how I am doing, what I managed. It is a personal and at the same time technical record of a two-year effort.
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SASHA
Kadaňka, Petr ; Mazanec, Martin (referee) ; Vaněk, Vojtěch (advisor)
The main topic of the work is the interpretation of feelings related to the issue of disappearing landscape values at the expense of uncontrolled extensive development of suburban areas. It is a subjective thought product of several years of experience in architectural practice, including, among other things, one's own participation in a similar invasive construction. This empiricism has resulted in the constant questioning of ethical conduct and responsibility. The key terms are suburbanization, urban sprawl, development, satellite town, outskirts, transformation of the aura of a place in „non-aura“. An integral part of the work is represented by considerations about the general position of the object within the hierarchy of (sub)urban space. The object does not mean only positive examples in the form of aesthetic, orientation or vegetation elements. The focus is also on its averted form — waste, utilitarian technical and functional elements or, for example, the seemingly endless colonization of public space by cars. Colonization of our minds. All spatial objects are also psychotropic. Their mental impact can be beneficial, arousing affect or emotion. But what if the objects in the public space are completely missing? The urban object is not far from the position of an artifact, a prop of everyday life, which does not belong to a person physically, but mentally.
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Model
Hládeková, Katarína ; Mazanec, Martin (referee) ; Zahoranský, Dušan (referee) ; Fajnor, Richard (advisor)
The dissertation thesis studies the extension of the context of the term model as a means of interpretation for Czech and Slovak post-conceptual works of art. Based on result of a historical excursion into the history of painting, sculpture and architecture, the thesis offers a new typology of a model which is exemplified on particular work of art of Czech and Slovak post-conceptual era in the first two decades of the 21st century. The historical part of the thesis concludes the following: model in the art is an emancipated form originating from different academic as well as layman discourse; emancipated model has a methaphorical layer and thus it reflects wide historical, cultural and social relations. The categories proposed include: a linear model, a physical model, a cognitive model and an immersive model. The linear model encompases the sketch themes and so-called visualization metaphors (graphs, charts, schemes, etc) and originates as a reaction to information saturation and complicated networks. The physical model is a form to architecture and hobby modelling, it is characterised by a simple, „sketchy“ structure reacting to social themes and individual and collective memory. The cognitive model points to the cognitive turn of the society, it evaluates the materialisation of mental space and explains the emancipated model as an open category. Finally, the immersive model interprets the medium of exhibition as a model form which is articulated by and artisitic manifesto or an architectural interference. Another form of immersion that is being discussed in the chapter about immersive models, is a photographic or 3 D computer illusion as a reaction to society‘s virtualisation. Simultaneously to theoretical-historical research, an artistic research was taking place which became the basis for the creation of different categories and typologies of model. Each proposed category thus includes a so-called author‘s note reflecting the practical part of the dissertation thesis.
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Uniform
Sádecká, Lucia ; Vacková, Lenka (referee) ; Mazanec, Martin (advisor)
The bachelor project focuses on the phenomenon of the Burda style magazine, which for more than 50 years has been advertising to its readers about pattern making, along with tips and tricks. This allows the readers to fill the wardrobe of current trends that they should be able to make themselves In this project, I chose one specific issue from 07/17 magazine, which I transferred from patterns provided with the material needed according to the template and workflow. I kept the original sewing method using the orientation map provided by the designers (using a silk screen), which forms the design of the whole collection. The aim is, on the one hand, to test the functionality and the practicality of the offered dresses in the magazine, but at the same time emphasis is put on the quality of craftsmanship. According to the popularity of the magazine, this quality still has its visible place in the fashion industry. How? What is this heading towards? Does the social artefact of this confection still make sense in this era?
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Snoop Dog
Trenčanská, Laura ; Gajarský, Dominik (referee) ; Mazanec, Martin (advisor)
In my bachelor work Snoop Dog I study the relationship of text, moving image and material, which changes its form and meaning by intermingling the individual picture collages. The result is a site-specific installation made up of a variety of materials and technologies, which build on the form of narrative exhibition projects I realized at Citysurfer Office Prague (2017), Gallery FaVU Brno (2018), Galerie 207 Praha (2016). The starting point is the author's text and then the installation unit, where I try to work with the spatial conditions of the old FaVU building.
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Live Low Framerate
Vrzáková, Barbora ; Maixner, Miroslav (referee) ; Mazanec, Martin (advisor)
In my diploma project I work with a topic of "watching" and arranging of view through digital media, especially the internet. The society got used to permanent presence of CCTV cameras at city squres, banks and shopping centres. The take of tracked locations is much bigger though. I was suprised by the amount of streams from totally unexpected places, which are possible to watch online. It is not a problem to visit a kitchen of columbian bistro, japanise barber shop or italian church, all from the comfort of home. The stream is running constantly and the viewer is limited only by the setting of the camera and a timezone of the particular country. Considering the fact, that separate streams are supplemented by almost no information, we are not able to define, who is the watchman, why is he watching and what is the actuall reason for watching. The whole situation of observing something in limited framerate without any context is just funny and creepy at the same time. My diploma project, which I named Live Low Framerate, is some kind of a reaction of those bizzare aspects of watching the public space.
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Millenial#SURVIVAL#BlackMagic
Pintérová, Renáta ; Mazanec, Martin (referee) ; Zálešák, Jan (advisor)
The aim of my work is to investigate the conditions of contemporary art and self-colonising tendencies in the production, perception and circulation of art between the online and offline space as well as the theoretical, contextual and political background of this process. The self-promotional character of mediating my own artwork over the internet is given by the widely used technology options, the preset architecture of web content for distribution of visual content, as well as the dominant aesthetic canon of documentary artwork and exhibitions dictated by influential visual blogs from the Contemporary Art Daily to the Ofluxo , Tzvetnik or others. I recognize the artistic practice in this context as an aesthetic loop and the accelerative impotence of a digital image given by the political conditions of information technology. The practical output of the work will consist of two textile objects.Design of objects and the DIY part of it will be created by me, but the objects stiching will be realized by Slovak designer / model Michal Šumichrast, who creates his own branding under the name SUMICRAFT. I think that the aesthetics and the process of producing his work and life itself corresponds to the social policy of the new global class of cultural producers. His artistic practice is contextually similar to my practice and to the social / political economic issues of the current precariat class that I examine in my theoretical and practical work. As a final result of the research the objects will be documented in "high resolution" and sent back to the Internet. Either in the form of an Instagram post, or as a self-colonising process within some of the "most up-to-date" online platforms for contemporary art.
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Statistical analysis of natural and induced seismicity catalogues
Mazanec, Martin ; Eisner, Leo (advisor) ; Adamová, Petra (referee)
The main goal of this thesis is to analyze the statistical properties of seismic catalogues of natural and induced seismicity, identify similarities and differences. We compare statistical temporal and magnitude information contained in different types of earthquake catalogues. Six seismostatistical criteria used for identification of natural swarms and mainshock- aftershock earthquake sequences are applied to 10 different catalogues of natural and induced seismicity. We did not find a method to reliably distinguish between natural and induced seismicity based only on temporal and magnitude information contained in catalogues. We show that induced seismicity catalogues are similar to natural earthquake swarms. We report how the set of 6 criteria presented here can be used for distinguishing between mainshock-aftershock sequences and swarm seismicity. We also show that none of the tested criteria can be used independently for distinguishing between different types of seismicity.
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Prerequisites for building magnetometer out of carbon nanotubes for geological applications
Mazanec, Martin ; Kletetschka, Günther (advisor) ; Kohout, Tomáš (referee)
This thesis is the first step in a long-therm project with object to built magnetometer from carbon nanotubes. At the beginning of the thesis is introduction to magnetism and its basic physical characteristics, brief description of the Earth's magnetic field, some magnetic minerals and material behavior in a magnetic filed. All this in a geological context. In the second part I focus on the measurment of the magnetic field, especially on some specific device. The third part deals with the allotrope of carbon - graphene structures. It offers a brief overview of thein properties, one chapter about the productiona and possible use. In discussion I try to combine these parts with a specific purpose, which is the uso of carbon nanotubes in measuring the rock magnetism. We present a simplified funcion principle of the discussed device, the first steps of construction and inicial measurment.
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The Life of a Record
Ryneš, Zdeněk ; Mazanec, Martin (referee) ; Klímová, Barbora (advisor)
In my work, I deal with a topic of diary or diary record in sense of the creation and archivation of my personal history and reflective view on it. For one year, I was collecting random recordings, which I stored into a calendary divided database. In the first phase of my work, I was interested in making distance from emotionally and personally charged material. I cut the recordings according to/in the basis of the graphic schemes and outlines beforehand. Above all, I was concerned in the video collection as a whole. In subsequent phase, my interest was brought to the details of the whole complex. I started to split the video into the individual frames, those I was printing. I transfered the videos from the digital form into a material artefact. After that, I shared these frames printed in the linear order and completed by an asociational narration always with one invited participant through repeated action. The result is a space installation counting two videos. First of them representing archive as a whole and second one is the series of the recordings of past actions.
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