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Diffusion Models and their Impact on Cybersecurity
Dvorščák, Patrik ; Homoliak, Ivan (referee) ; Lapšanský, Tomáš (advisor)
Táto práca skúma výkonnosť difúznych modelov (DM) a Generative Adversarial Network (GAN) - Generatívna sieť súperiacích komponentov, pri vytváraní vizuálneho obsahu generovaného umelou inteligenciou vo viacerých aplikáciách vrátane syntézy tváre, generovania textu na obraz, umeleckého renderovania, prekladu obrazu na obraz, syntézy videa a superrozlíšenia. Prostredníctvom porovnávacích experimentov sa v tomto výskume hodnotí schopnosť modelov generovať podrobné, realistické a umelecky presvedčivé vizuály z textových a obrazových vstupov. Výsledky ukazujú, že DM vynikajú pri vytváraní vysoko detailných obrazov, ktoré presne nasledujú textové vstupy, pričom sú obzvlášť účinné pri úlohách syntézy tváre a prevodu textu na obraz. Naproti tomu GAN sú zručnejšie pri vykresľovaní realistických scén prostredia, ktoré sú vhodné pre aplikácie vyžadujúce pohlcujúce vizuály. Oba typy modelov sú kompetentné v umeleckom vykresľovaní, hoci sa líšia v prispôsobovaní štýlu a kreativite. V závere práce sú uvedené budúce smery výskumu zamerané na zvýšenie účinnosti modelov a efektívnejšiu integráciu týchto technológií do praktických aplikácií.
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Revivals of Forms and Styles in Visual Art: Current Hyperrealism as Product of Postproduction or a Commentary on the Advent of New Media
Hrnčířová, Markéta ; Borecký, Felix (advisor) ; Šafaříková, Radana (referee)
The book Postproduction: Culture as Screenplay, written by French aesthetician Nicolas Bourriaud is going to be initial text for my diploma thesis. Bourriaud claims, that contemporary art is mostly made by the principle of assemblage; art works are made by reinterpretation, reproducing or by new exhibiting of artefacts or forms of past. The assumption of the original concept in artworks of contemporary artists - semionauts (travelers in the worlds of signs) has been allready completely ineffective. Through the example of hyperrealistic paintings, which has lately reappeared in portfolios of international and czech artists, I will try to show whether its revilal is based on the emergence of new medias, that even more than in the seventies simulate reality or whether they deal with the concept of postpostprodution - the artists lend only formal, in this case, hyperrealistic, signs. This diploma thesis will be completed by the case study of paintings of czech hyperrealist painter Jan Mikulka.
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Revivals of Forms and Styles in Visual Art: Current Hyperrealism as Product of Postproduction or a Commentary on the Advent of New Media
Hrnčířová, Markéta ; Borecký, Felix (advisor) ; Šafaříková, Radana (referee)
The book Postproduction: Culture as Screenplay, written by French aesthetician Nicolas Bourriaud is going to be initial text for my diploma thesis. Bourriaud claims, that contemporary art is mostly made by the principle of assemblage; art works are made by reinterpretation, reproducing or by new exhibiting of artefacts or forms of past. The assumption of the original concept in artworks of contemporary artists - semionauts (travelers in the worlds of signs) has been allready completely ineffective. Through the example of hyperrealistic paintings, which has lately reappeared in portfolios of international and czech artists, I will try to show whether its revilal is based on the emergence of new medias, that even more than in the seventies simulate reality or whether they deal with the concept of postpostprodution - the artists lend only formal, in this case, hyperrealistic, signs. This diploma thesis will be completed by the case study of paintings of czech hyperrealist painter Jan Mikulka.
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