Tesi sul tema "Shadow or reality?"

The thesis deals with an image processing problem called image matting. The problem involves detection of a foreground and background in an image with minimal user interaction using trimaps. Foreground detection is used in image composition. The goal of the thesis is to apply already known algorithms, in this case A Global sampling matting, in an Android application. The most important result is an intuitive application that can be used for making creative viral photos. Agile methodology is applied throughout the whole application development cycle. From the very beginning, the application is publicly available as a minimum viable product on Google play. The work’s contribution is in optimization of the mentioned algorithm for use in mobile devices and parallelization on a GPU, together with a publicly available application.

Unlike many Black-specific disciplines in the academy (Black psychology, Black history, etc), Black philosophy never completely forged a unique conceptual framework separate from American and Continental intellectual traditions. Instead the field has continued to define its validity by the extent that Black authors extend the thought of white philosophers towards race. This epistemic convergence, or the extent to which Black theory converges with established white philosophical traditions, and hence white racial sensibilities, continues to misguide many of the current philosophical systems of Africana thought. Because this practice is so dominate, it has made current scholarship in African American and Africana thought derelict, in the sense that all investigations into Blackness are normatively, hence ideologically driven, and not culturally relevant to the actual lives of Africana people. Because whites are able to connect their work in traditional philosophy to studies of race under the misnomer of "critical race theory," these white associations with Black philosophy have given the illusion that integration and multicultural exchanges in Africana philosophy contribute to the restructuring of the discipline of philosophy and psychical changes in whites. Unfortunately this is merely wishful thinking that fails to consider the empirical research that confirms the undeniable failure of integration. This inability by Blacks to accept and explore racism without the illusion of racial coexistence in America makes current approaches to Black philosophy irrelevant to the present day struggles that Blacks find themselves burdened by in the American context. This dissertation however argues that the acceptance of the racial realist perspective, which accepts the permanence of racism, allows Blacks to "conceptually disengage" the triumphalism of the integrationist myth and explore the world without the illusion of anthropological parity. This lacuna in the European narration of liberal democracy's vision of equality spurs the culturalogical turn in Critical Race Theory, and introduces the philosophical insights of Derrick Bell and Paul Robeson as guiding voices towards the silencing of the idealist trends in contemporary studies of racism.

L'objectif principale de la Réalité Mixte (RM) est de donner aux utilisateurs l'illusion que les objets virtuels et réels coexistent indistinctement dans le même espace. Une illusion efficace nécessite un recalage précis entre les deux mondes. Ce recalage doit être cohérent du point de vue géométrique et photométrique. Dans cette thèse, nous proposons de nouvelles méthodes de recalage photométrique pour estimer l'illumination et la réflectance de scènes réelles. Plus précisément, nous proposons des approches en nous attaquant à trois grands défis : (1) utilisation d'une seule caméra RGB-D. (2) estimation des propriétés de réflectance diffuse et spéculaire. (3) estimation de la position 3D et de la couleur de sources lumineuses dynamiques multiples. Dans notre première contribution, nous considérons des scènes réelles d’intérieurs où la géométrie et l'éclairage sont statiques. En observant la scène à partir d’une caméra mobile, des réflexions spéculaires peuvent être détectées tout au long de la séquence d'images RGB-D. Ces indices visuels sont très instructifs sur l'éclairage et la réflectance des surfaces des scènes. Par conséquent, nous les modélisons pour estimer à la fois les propriétés de réflectance diffuse et spéculaire ainsi que la position 3D de sources lumineuses multiples. Notre algorithme permet d'obtenir des résultats de RM convaincants tels que des ombres virtuelles réalistes ainsi qu'une suppression correcte de la spécularité réelle. Les ombres sont omniprésentes et représentent l’occultation de la lumière par la géométrie existante. Elles représentent donc des indices intéressants pour reconstituer les propriétés photométriques de la scène. La présence de texture dans ce contexte est un scénario critique. En effet, la séparation de la texture et des effets d'éclairage est souvent gérée par des approches qui nécessitent l’intervention de l'utilisateur ou qui ne répondent pas aux exigences du temps de traitement de la réalité mixte. Nous abordons ces limitations et proposons une méthode d'estimation de la position et de l'intensité des sources lumineuses. L'approche proposée gère les lumières dynamiques et fonctionne en temps quasi-réel. L'existence d'une source lumineuse est plus probable si elle est soutenue par plus d'un indice visuel. Nous abordons donc le problème de l'estimation des propriétés d’éclairage et de réflectance en analysant conjointement les réflexions spéculaires et les ombres projetées. L'approche proposée tire parti de l'information apportée par les deux indices pour traiter une grande variété de scènes. Notre approche est capable de traiter n'importe quelle surface texturée et tient compte à la fois des sources lumineuses statiques et dynamiques. Son efficacité est démontrée par une gamme d'applications, incluant la réalité mixte et la re-texturation. La détection des ombres projetées et des réflexions spéculaires étant au cœur de cette thèse, nous proposons finalement une méthode d'apprentissage approfondi pour détecter conjointement les deux indices visuels dans des scènes réelles d’intérieurs<br>The overarching goal of Mixed Reality (MR) is to provide the users with the illusion that virtual and real objects coexist indistinguishably in the same space. An effective illusion requires an accurate registration between both worlds. This registration must be geometrically and photometrically coherent. In this thesis, we propose novel photometric registration methods to estimate the illumination and reflectance of real scenes. Specifically, we propose new approaches which address three main challenges: (1) use of a single RGB-D camera. (2) estimation of both diffuse and specular reflectance properties. (3) estimation of the 3D position and color of multiple dynamic light sources. Within our first contribution, we consider indoor real scenes where both geometry and illumination are static. As the sensor browses the scene, specular reflections can be observed throughout a sequence of RGB-D images. These visual cues are very informative about the illumination and reflectance of scene surfaces. Hence, we model these cues to recover both diffuse and specular reflectance properties as well as the 3D position of multiple light sources. Our algorithm allows convincing MR results such as realistic virtual shadows and correct real specularity removal. Shadows are omnipresent and result from the occlusion of light by existing geometry. They therefore represent interesting cues to reconstruct the photometric properties of the scene. Presence of texture in this context is a critical scenario. In fact, separating texture from illumination effects is often handled via approaches which require user interaction or do not satisfy mixed reality processing time requirements. We address these limitations and propose a method which estimates the 3D position and intensity of light sources. The proposed approach handles dynamic light sources and runs at an interactive frame rate. The existence of a light source is more likely if it is supported by more than one cue. We therefore address the problem of estimating illumination and reflectance properties by jointly analysing specular reflections and cast shadows. The proposed approach takes advantage of information brought by both cues to handle a large variety of scenes. Our approach is capable of handling any textured surface and considers both static and dynamic light sources. Its effectiveness is demonstrated through a range of applications including real-time mixed reality and retexturing. Since the detection of cast shadows and specular reflections are at the heart of this thesis, we further propose a deep-learning framework to jointly detect both cues in indoor real scenes

Detta arbete har undersökt hur mycket en volymetrisk eldeffekt med tillhörande fysiksimulering kan optimeras medan effekten samtidigt presterar tillfredställande. I bakgrunden ges en sammanfattning om eldteknikens historia. De begrepp som krävs för att förstå arbetet som helhet redogörs. I bakgrunden presenteras även den forskning som motiverar utförandet av arbetet. Bakgrunden följs av problemformuleringen med tillhörande metodbeskrivning. Problemformuleringen förklarar att optimering av en eldeffekt skall undersökas och då  eld är en mycket använd effekt. Metodbeskrivningen behandlar utförandet och förklarar att ett frågeformulär användes med en urvalsgrupp på 10 respondenter. I implementationen förklaras hur den utvecklade applikationen fungerar och vilka problem som påträffats under implementationen. Sedan följer utvärderingen som presenterar den data som samlats. Datan analyseras och intressanta slutsatser som antalet stickprov presenteras. I en avslutande diskussion presenteras vilken nytta samhället har av arbetet samt hur en fortsatt forskning kan se ut.

Ampliamento di un precedente progetto per il tirocinio curricolare, che consiste in un videogioco a giocatore singolo di tipo Tower Defense in Realtà Aumentata realizzato con Unity e Vuforia, con possibilità di alterare il percorso, il quale interpola i punti ottenuti dai markers. Tale progetto è stato ampliato tramite lo sviluppo di shaders scritti in codice Cg ed ulteriori effetti grafici, sostituendo alcuni modelli 3D, inoltre aggiungendo e modificando scripts in C#.

Současné vizuální markerové systémy mají jednu zásadní nevýhodu oproti tzv. markerless přístupům - pohyb kamery je omezen na oblast pokrytou markery. V každém snímku musí být marker dostatečně velký, aby jej bylo možné identifikovat a vypočítat pozici a rotaci kamery. Zároveň musí být dostatečně malý, aby se celý (nebo alespoň jeho podstatná část) vešel do záběru kamery. Avšak tyto požadavky jsou protichůdné. Tato práce nabízí řešení tohoto problému za pomoci konceptu Marker Fields. Jde o strukturu, jejíž přítomnost je možné v obraze kamery snadno detekovat a identifikovat část, na kterou se kamera právě dívá, a to na základě jakékoli (malé) podoblasti s definovanou velikostí. Aby bylo možné podoblasti identifikovat zblízka i zdálky, nejsou od sebe odděleny, ale do velké míry se překrývají. V této práci jsou vysvětleny různé implementace konceptu marker fields, spolu s jejich zamýšleným použitím a výhodami a nevýhodami. Jako důkaz použitelnosti marker fields v reálném světě, se druhá největší část této práce věnuje popisu jejich reálných aplikací.

La tesis interpreta diacrónicamente la poesía de Ángel Crespo (1926-1995) (Poesía, Valladolid, 1996), como búsqueda de lo sagrado desde el interior del lenguaje. Formula filosóficamente las preguntas que el poeta responde artísticamente, para mostrar su universalidad ética y psicológica. Explica cómo el poeta enfrenta las limitaciones del lenguaje para expresar una realidad intuida más allá del mismo: mediante los procesos de simbolización, trasciende su dimensión arbitraria y convencional para albergar una concepción de la realidad (mundo y yo) progresivamente más amplia y unitaria. Como guía de esta evolución, el símbolo crespiano posee una virtualidad religiosa e iniciática que para mantener una perspectiva aconfesional y científica es estudiado desde la antropología de lo sagrado, de M. Eliade, la psicología de Jung y a la hermenéutica simbólica de G. Durand, disciplinas que afirman la dimensión religiosa como parte irrenunciable de la psique y la búsqueda del Sentido como objetivo de toda manifestación humana.<br>This essay entails a diachronic interpretation of the poetry of Angel Crespo (1926-1995) (following the edition Poesía, Valladolid, 1996), as a search for the sacred dimension of the world, developed from within the language. It frames philosophically the questions that the poet answers artistically, in order to show their ethical and philosophical universality. It explains how the poet, by means of the processes of symbolisation, manages to go beyond the edges of language (those of his arbitrariness and conventionality) and to express a conception of the full reality (world and I) gradually wider and more unitarian. As a guide of this evolution, the poetic symbol has a religious meaning and a sense of initiation in the work of Crespo. This thesis studies those aspects from a scientific and not confessional point of view, by relating the poetry of Crespo with the religious anthropology of M. Eliade, the psychology of Jung and the symbolic hermeneutics, from Cassirer to Durand.

This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike.

This dissertation examines how Philippine (or Filipino) authors emphasise the need for articulating or “re/membering” cultural identity. The researcher mainly draws from the theory of Caribbean critic, Stuart Hall, who views cultural identity as an articulation which allows “the fragmented, decentred human agent” to be considered as one who is both “subject-ed” by power but/and one who is capable of acting against those powers (Grossberg 1996 [1986]: 157, emphasis mine). Applied to the Philippine context, this writer argues that, instead of viewing an apparent fragmented Filipino identity as a hindrance to “defining” cultural identity, she views the “damaged” (Fallows 1987) Filipino history as a the material itself which allows articulation of identity. Instead of reducing the cultural identity of a people to what-they-could-have-been-had-history-not-intervened, she puts forward a vision of identity which attempts to transfigure these “damages” through the efforts of coming-to-terms with history. While this point of view has already been shared by other critics (such as Feria 1991 or Dalisay 1998:145), the author’s contribution lies in presenting re/membering to describe a specific type of articulation which neither permits one to deny wounds of the past nor stagnate in them. Moreover, re/membering allows one to understand continuous re-articulations of “new” identities (due to current migration), while putting an “arbitrary closure” (Hall) to simplistic re-articulations which may only further the “lines of tendential forces” (such as black or brown skin bias) or hegemonic practices.<p><p>Written as such (with a slash),“re/membering” encapsulates the following three-fold meaning: (1) a “re-membering”, to indicate “a putting together of the dismembered past to make sense of the trauma of the present” (Bhabha 1994:63); as (2) a “re-membering” or a re-integration into a group and; as (3) “remembering” which implies possessing “memory or … set [ting] off in search of a memory” (Ricoeur 2004:4). As a morphological unit, “re/membering” designates, the ways in which Filipino authors try to articulate cultural identity through the routes of colonisation, migration and dictatorship. <p><p>The authors studied in this thesis include: Carlos Bulosan, Bienvenido Santos, N.V.M. Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, and Merlinda Bobis. Sixty-years separate Bulosan’s America is in the Heart (1943) from Hagedorn’s Dream Jungle (2003). Analysis of these works reveals how articulation is both difficult and hopeful. On the one hand, authors criticize the lack of efforts and seriousness towards articulation of cultural identity as re/membering (coming to terms with the past, fostering belonging and cultivating memory). Not only is re/membering challenged by double-consciousness (Du Bois 1994), dismemberment and forgetting, moreover, its necessity is likewise hard to recognize because of pain, trauma, phenomena of splitting, escapist attitudes and preferences for a “comfortable captivity”. <p><p>On the other hand, re/membering can also be described as hopeful by the way authors themselves make use of literature to articulate identity through research, dialogue, time, reconciliation and re-creation. Although painstaking and difficult, re/membering is important and necessary because what is at stake is an articulated Philippine cultural identity. However, who would be prepared to make the effort?<p>------<p><p>Cette thèse démontre que, pour les auteurs philippins, l’articulation ou « re/membering » l'identité culturelle, est nécessaire. Le chercheur s'appuie principalement sur la théorie de Stuart Hall, qui perçoit l'identité culturelle comme une articulation qui permet de considérer l’homme assujetti capable aussi d'agir contre des pouvoirs (cf. Grossberg 1996 [1986]: 157). Appliquée au contexte philippin, cet auteur soutient que, au lieu de la visualisation d'une identité fragmentée apparente comme un obstacle à une « définition » de l'identité culturelle, elle regarde l’histoire philippine «abîmée» (Fallows 1987) comme le matériel même qui permet l'articulation d’identité. Au lieu de réduire l'identité culturelle d'un peuple à ce qu’ ils auraint pû être avant les interventions de l’histoire, elle met en avant une vision de l'identité qui cherche à transfigurer ces "dommages" par un travail d’acceptation avec l'histoire. <p><p>Bien que ce point de vue a déjà été partagé par d'autres critiques (tels que Feria 1991 ou Dalisay 1998:145), la contribution de l'auteur réside dans la présentation de « re/membering » pour décrire un type d'articulation sans refouler les plaies du passé, mais sans stagner en elles non plus. De plus, « re/membering » permet de comprendre de futures articulations de « nouvelles » identités culturelles (en raison de la migration en cours), tout en mettant une «fermeture arbitraire» (Hall) aux ré-articulations simplistes qui ne font que promouvoir des “lines of tendential forces” (Hall) (tels que des préjugés sur la couleur brune ou noire de peau) ou des pratiques hégémoniques.<p><p>Rédigé en tant que telle (avec /), « re/membering » comporte une triple signification: (1) une «re-membering », pour indiquer une mise ensemble d’un passé fragmenté pour donner un sens au traumatisme du présent (cf. Bhabha, 1994:63); (2) une «re-membering» ou une ré-intégration dans un groupe et finalement, comme (3)"remembering", qui suppose la possession de mémoire ou une recherche d'une mémoire »(Ricoeur 2004:4). Comme unité morphologique, « re/membering » désigne la manière dont les auteurs philippins tentent d'articuler l'identité culturelle à travers les routes de la colonisation, les migrations et la dictature. <p><p>Les auteurs inclus dans cette thèse sont: Carlos Bulosan, Bienvenido Santos, NVM Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, et Merlinda Bobis. Soixante ans séparent America is in the Heart (1943) du Bulosan et le Dream Jungle (2003) du Hagedorn. L'analyse de ces œuvres révèle la façon dont l'articulation est à la fois difficile et pleine d'espoir. D'une part, les auteurs critiquent le manque d'efforts envers l'articulation en tant que « re/membering » (confrontation avec le passé, reconnaissance de l'appartenance et cultivation de la mémoire). Non seulement est « re/membering » heurté par le double conscience (Du Bois 1994), le démembrement et l'oubli, en outre, sa nécessité est également difficile à reconnaître en raison de la douleur, les traumatismes, les phénomènes de scission, les attitudes et les préférences d'évasion pour une captivité "confortable" .<p><p>En même temps, « re/membering » peut également être décrit comme plein d'espoir par la façon dont les auteurs eux-mêmes utilisent la littérature pour articuler l'identité à travers la recherche, le dialogue, la durée, la réconciliation et la re-création. Bien que laborieux et difficile, « re/membering » est important et nécessaire car ce qui est en jeu, c'est une identité culturelle articulée des Philippines. Mais qui serait prêt à l'effort? <p><br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished

碩士<br>朝陽科技大學<br>工業設計系<br>107<br>Abstract In either skills or concepts, photography has changed a lot through age ever since the nineteenth century. In skills, photographic-plate-developed picture has transformed into digital images. Photographic creation, in the meantime, is expanded from realistic and documentary records to various subjectively expressed themes. As a result, photographic creation presents abundant variety and plays an important role in creating visual art forms. In the long-term process of development, the only effect never changed is light-shadow element to make images well-recognized and identified. Light-shadow is the basic and the most important element for photographic creation. No well-presented images can be expressed without good light-shadow effect. The research, therefore, focuses on the relation between light-shadow and visual expression and search for new possibilities for photographic creation. In practical skill application, I take digital camera as equipment; realistic subjects (mainly buildings) in natural light condition are presented and expressed in various effects. In the process, light-shadow is the main element for the various creation. In actual practice, the creation works are divided into two parts. First: the relation between light-shadow and reality-illusion visual expression. Second: the relation between light-shadow and space interface. The method is applying different sources of light (direct light, opposite light, light-through) to make visually transformed images presented in various perspectives, realistic, illusion, space, angles, even overlapping of time and light are included. Through photographic creation, I try to present concrete images as individual visual expression creation.

碩士<br>樹德科技大學<br>應用設計研究所<br>98<br>In this study, the 2009 Taipei International Travel Fair in Taiwan High Speed Rail show an example to show the contents of the main areas for the augmented reality, interactive projection area two regions, will demonstrate techniques and hardware for the build cooperation, including technology, assessment of possible , interactive programming maintenance, this study focuses on the interaction of which the final results of conceptual design and presentation of the paper. The digital era, for the development of digital technology to interactive design to the rise of somatosensory and cross-disciplinary innovation, open the somatosensory interaction for the design of the application of technology in the display. However, the relatively large domestic display in graphic design, solid model display, multimedia display of the main types of interactive experiences as a display technique is reduced. In the literature review in this study first extended to the evolution of digital art digital display design used in domestic and international cases, and for the somatosensory and augmented reality for interactive discussion. The study design focused on somatosensory interactive display design applications, and the somatosensory interaction and augmented reality on the display case designed to observe and analyze, through practice and from academic and market the two different angles to make design thinking creation of these two interactive technology designed to demonstrate its advantages and useful, interactive science and technology through research to understand the impact for the exhibition industry and to assess its value.

Genealogical arguments which aim to undermine some aspect of ethics by referring to its supposed evolutionary origin have become both more common and more philosophically substantive in recent years. In this thesis, I present what I take to be the strongest evolutionary debunking argument aimed against the meta-ethical view of moral realism. Specifically, I present Sharon Street’s Darwinian Dilemma. I then consider the strongest responses given in defense of moral realism by Derek Parfit and Russ Shafer-Landau. I give reason to reject most of Parfit’s and Shafer-Landau’s responses and then suggest that due to a lack of justification for our moral beliefs (if moral realism is true) we ought to have a lower level of credence in them.

碩士<br>國立成功大學<br>藝術研究所<br>107<br>Hsin-Chien Huang(1966-) is an artist who has emerged in the field of Contemporary New Media Art in recent years. After winning Grand Prize of New Voices New Visions International Multimedia Competition in the United States in 1994, Laurie with Hsin-Chien won the highest honor at the 74th Best VR Experience Award of Venice Film Festival in 2017, and Hsin-Chien Huang became the representative artist of new media technology in Taiwan. He is good at using the means of device, induction and interactive art to present the concepts of virtual memory, image narration and poetics, transforming the audience's existing vision and perception mode, making the audience be able to achieve an immersive experience in the 3D simulation field space. It is not limited one-way communication anymore at traditional painting, sculpture or audience with works. This study mainly discusses the works of Hsin-Chien Huang with Phenomenology of Perception of body subject by Merleau Ponty. First of all, Construct in the history of his life, Focused on his art career, the researcher tried to understand his experience of childhood memories, growth background, physical and mental translation. Second, in the middle stage, Huang Hsin-Chien think outside the White cube as the turning point, began to shift from visual to exploring the spatial dimension of the field between the body on Mirage Theate in 2012. Finally, further extend the participants' transition from one-way viewing to two-way interaction in La Camera Insabbiata, revealing the reflexive experience of the body in response to the relationship between the artist, the participants themselves, and the space of the work.

The purpose of this project has been to research and write the novel The Shaded Side and a critical commentary. The novel is based on the fictitious events that take place in an Australian tuberculosis sanatorium in the 1940s. The story locates and reflects the consequences of relationships, experiences, morals and attitudes of this early period against the present day story of an adult adoptee searching for the identity of her birth mother. Research into the history of TB treatment in Australia and into broader representations of illness and disease has been required for the project. General themes include: sanatorium treatment, wartime experiences of women of Footscray, the influences of Catholicism as it was generally practised earlier this century, adoption and the mechanics of searching for one's birth relatives. The critical component consists of two essays. Essay 1 discusses comparative representations of illness and disease and the use of metaphoric language. Essay 2 explores the controversial issue of appropriation of research in realist fiction and the requirement for writers to understand and take responsibility for their choices of representation.

This diploma thesis deals with the Russian interwar period artist in exile - Ilya Dmitrijevich Shapov. He emigrated to Czechoslovakia in the 1920s and lived there for 25 years. He grew up in Czechoslovakia, graduated from art schools and began his artistic career. The work deals with the life and work of this artist and tries to place his work in the context of Czech art of the first half of the 20th century. In the Czech Republic, Shapov is represented by approximately 120 works (drawings, paintings, but also sculptures), which have not yet been further explored and interpreted. The basis for the elaboration of the thesis were archival materials, mainly from the collections of the Literary Archive of the National Literature Memorial and the Regional Archive of the Czech Republic.