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Industrial applications of optical nanoantennas
Binková, Petra ; Édes, Zoltán (referee) ; Babocký, Jiří (advisor)
This bachelor's thesis deals with fabrication of optical nanoantennas using electron beam lithography and their industrial applications. We have designed optical components that can be used as optical security elements to prevent forgery of plastic bank notes, ID cards, credit cards etc. Designed structures were succesfully fabricated and tested.
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Fabrication and testing of MEMS device components for micromanipulation
Binková, Petra ; Prášek, Jan (referee) ; Liška, Jiří (advisor)
This diploma thesis deals with the production and testing of MEMS devices intended for micromanipulations with a possibility of their usage in a scanning electron microscope, which includes manipulation of microobjects such as metal microparticles, microfibres or even biological samples. The first chapter contains a detailed study of microsystems and MEMS devices. The next chapter describes various types of micromanipulations, including MEMS. The third chapter deals with possible techniques of microfabrication. The fourth chapter contains experimental part of this work, in which two versions of silicon microgrippers were proposed. Considering available solutions of micromanipulators, principal and spatial limitations in the electron microscope, the piezoelectric actuator was chosen as the gripping principle. Direct write laser lithography and deep reactive ion etching were used to produce the microgrippers, and it was necessary to optimize these techniques for selected application. During the optimizations, various problems were solved, including the elimination of black silicon formation, unsuccessful etching of narrow deep structures, etc. Prototype of one of the proposed microgripper was successfully created. The manufactured micromanipulators were subsequently tested under an optical microscope. During testing, it was necessary to modify the position of the actuator in the device to ensure that the jaws of the manipulator are clamped.
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The 20th century muralism in Mexico
Binková, Petra ; Opatrný, Josef (advisor) ; Štěpánek, Pavel (referee)
As I was trying to suggest in this text, the cultural value of mural production is political in the sense that it responds to interests and motives of the social world and intends to transform the space which it occupies. When doing so, such visual works orient itself toward the construction of its own public. The mural process that aspires to create mural art must therefore be multiple and combined. A similar thought has been pointed out by Bruce Campbell his book Mexican Murals in Times of Crisis: [Mural practice must be] making its commitments and negotiating compromises within the balance of social forces; attempting to fix in some manner the social context in which it takes place; hailing a more or less broad sector of the social milieu; and seeking out some meaningful figure with an eye toward symbolic consensus, or "no man's land" capable of negotiating through perspectival conflicts over the space of the work.,,161 Only by attention to the practical components of muralism does it become possible to recognize a contextual variety of mural work. In fact, these are nothing more than distinct modes of formal compromise between the production of the mural image and its public. An alternative delineation of contemporary muralism is thus at the same time a delineation of practical accomplishments...
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Industrial applications of optical nanoantennas
Binková, Petra ; Édes, Zoltán (referee) ; Babocký, Jiří (advisor)
This bachelor's thesis deals with fabrication of optical nanoantennas using electron beam lithography and their industrial applications. We have designed optical components that can be used as optical security elements to prevent forgery of plastic bank notes, ID cards, credit cards etc. Designed structures were succesfully fabricated and tested.
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The 20th century muralism in Mexico
Binková, Petra ; Opatrný, Josef (advisor) ; Štěpánek, Pavel (referee)
As I was trying to suggest in this text, the cultural value of mural production is political in the sense that it responds to interests and motives of the social world and intends to transform the space which it occupies. When doing so, such visual works orient itself toward the construction of its own public. The mural process that aspires to create mural art must therefore be multiple and combined. A similar thought has been pointed out by Bruce Campbell his book Mexican Murals in Times of Crisis: [Mural practice must be] making its commitments and negotiating compromises within the balance of social forces; attempting to fix in some manner the social context in which it takes place; hailing a more or less broad sector of the social milieu; and seeking out some meaningful figure with an eye toward symbolic consensus, or "no man's land" capable of negotiating through perspectival conflicts over the space of the work.,,161 Only by attention to the practical components of muralism does it become possible to recognize a contextual variety of mural work. In fact, these are nothing more than distinct modes of formal compromise between the production of the mural image and its public. An alternative delineation of contemporary muralism is thus at the same time a delineation of practical accomplishments...
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The 20th century muralism in Mexico
Binková, Petra ; Opatrný, Josef (advisor) ; Štěpánek, Pavel (referee)
As I was trying to suggest in this text, the cultural value of mural production is political in the sense that it responds to interests and motives of the social world and intends to transform the space which it occupies. When doing so, such visual works orient itself toward the construction of its own public. The mural process that aspires to create mural art must therefore be multiple and combined. A similar thought has been pointed out by Bruce Campbell his book Mexican Murals in Times of Crisis: [Mural practice must be] making its commitments and negotiating compromises within the balance of social forces; attempting to fix in some manner the social context in which it takes place; hailing a more or less broad sector of the social milieu; and seeking out some meaningful figure with an eye toward symbolic consensus, or "no man's land" capable of negotiating through perspectival conflicts over the space of the work.,,161 Only by attention to the practical components of muralism does it become possible to recognize a contextual variety of mural work. In fact, these are nothing more than distinct modes of formal compromise between the production of the mural image and its public. An alternative delineation of contemporary muralism is thus at the same time a delineation of practical accomplishments...
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