Kvantitativní tvarová analýza rozsivkových frustul: asymetrie, allometrie a struktura tvaroprostorů

Tato práce je zaměřena na geometricko morfometrický výzkum alometrické a asymetrické variability ve tvaru frustul raphidních penátních rozsivek. Dřívější studie zabývající se výzkumem rozsivek mnohokrát zaznamenaly vztah tvarové variability a zmenšování frustul v průběhu vegetativního cyklu. Formální kvantitativní analýza těchto patrností se ovšem v literatuře vyskytuje jen poměrně vzácně. Ve své dizertaci jsem použila semilandmarkovou geometrickou morfometriku obrysů frustul pro analýzy morfologických fenoménů alometrie, symetrie a asymetrických odchylek spojených s redukcí jejich velikosti v průběhu mitotické fáze životního cyklu. Provedené analýzy ukázaly, že morfologická alometrie představuje dominantí část tvarové variability u několika studovaných navikuloidních rodů jako je Luticola poulickovae, Navicula cryptocephala a Sellaphora pupula. Tvarové změny v průběhu velikostní redukce u těchto taxonů zahrnovaly simultánní zvýšení cirkularity obrysů valv a disparity mezi buňkami. Dynamika asymetrie valv ovšem nebyla s velikostními změnami korelovaná. Morfometrické analýzy druhu Luticola poulickovae ovšem ukázaly, že jejich frustuly vykazovaly také subtilní ale signifikantní stranově orientovanou asymetrii valvárních obrysů, která souvisí s pozicí primární a sekundární strany valv. Výrazné...This thesis is focused on geometric morphometrics of allometric and asymmetric variation in frustule shape of raphid pennate diatoms. While pronounced shape changes of diatom frustules related to their size reduction were many times reflected in diatom research, formal quantitative evaluation of these patterns has been rarely attempted. My thesis used semilandmark based geometric morphometrics of frustule outlines in analyses of morphological phenomena related to size reduction throughout mitotic phase of the life cycle, such as allometry, symmetry of frustules and their asymmetric deviations. The analyses showed that morphological allometry represents the dominant element of shape variation in several naviculoid species, such as Luticola poulickovae, Navicula cryptocephala, Sellaphora pupula. Shape changes during size reduction throughout the vegetative part of these taxa mostly involved a simultaneous increase in circularity of valve outlines and disparity among cells. On the other hand, asymmetry of valves proved to be unrelated to size changes within populations. However, the morphometric analyses of Luticola poulickovae revealed that there was a subtle but significant side-oriented asymmetry of valve outlines that is related to the position of the primary and secondary valve sides. In...Katedra botanikyDepartment of BotanyPřírodovědecká fakultaFaculty of Scienc

Digital Craft | In Search of a Method of Personal Expression Within the Digital

Our relationship with the digital has fundamentally changed within the past decade. A mesh of outside interests have been efficiently folding themselves into our lives. These exist as either a legion of hosted “free” web services touting the promise of a new-found collective intimacy, or a set of tightly coupled IOT(Internet of Things) applications that are slowly being pulled away from our fully capable hardware—all causing us to rely heavily on a virtual infrastructure that demands to host our work and place us at arm’s length of tools that we no longer own or control. This new bargain includes a view into our work and habits so that we can be better understood, tokenized, categorized, mapped, and finally monetized. While many today may be OK with this relationship, I’ll be frank, it unsettles me. I believe something fundamental is lost in this unravelling long-distance relationship. This thesis is a response. It pushes for a more intimate connection with technology within the backdrop of digital design and its many processes. In The Craftsman, Richard Sennett writes: “Making is Thinking,” and in his text he explores the close relationship between head and hand for a small set of traditional craftsmen: a cook, a musician and a glass blower. To elevate the digital within today’s architectural practice, I feel its use must also be seen as craft. But how might a relationship between head and hand manifest itself? Is there some similarity in thinking between Sennett’s craftsmen and the processes of successful digital design? I propose to investigate the mechanisms of digital Making, and hence digital Thinking through three design problems, inspired by the works of Neri Oxman, deskriptiv, Michael Hansmeyer, as well as the methods of D’Arcy Thompson, Shinichi Maruyama, Pina Bausch, and Frei Otto. By mindfully observing my exploration of these from a digital perspective, I believe it will be possible to get a sense of what makes craft possible within this realm