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Pole Flow App je mobilna aplikacija za plesni klub Pole Flow. Za frontend je uz to korišten alat React Native, a za backend je korišten programski okvir Express.Aplikacija će služiti za lakšu organizaciju treninga i članova kluba. Cilj aplikacije je riješiti sve probleme koji se javljaju pri organizaciji i komunikaciji pomoću jedne mobilne aplikacije. Novi članovi i treneri će pri učlanjenju u klub dobiti pristup aplikaciji te se registrirati u sustav. Imati će mogućnost uvida u raspored treninga, galeriju, korisničke podatke te obavijesti vezanih za klub. Članovi kluba imaju obavezu davanja povratne informacije o dolasku ili nedolasku na nadolazeći trening. Preko aplikacije, također se može pratiti broj nadoknada treninga te stanje članarine. Za sva uređivanja, dodavanja i brisanja je zaslužan administrator. The Pole Flow App is a mobile app for the Pole Flow dance club. For the frontend, the React Native tool and for the backend, the Express program framework was used. The application will serve to facilitate the organization of coaches and club members. The goal of the application is to solve all the problems that occur during organization and communication using one mobile application. New members and coaches will gain access to the application and register in the system when joining the club. They will have the opportunity to see the training schedule, gallery, user data and information related to the club. Club members have an obligation to give feedback on arrival or non-arrival at the upcoming training. Through the application, you can also monitor the number of training compensations and the status of membership fees. The administrator is responsible for all edits, additions and deletions.

Kooperatīvā mācīšanās sadarbības prasmju pilnveidei elektromagnētisma tematu apguvē fizikā 9. klasē. Krīgerts, J., darba vadītāja: Dr. phys. Dudareva, I. Diplomdarbs – skolotāja pieredzes darbs, 52 lappuses, 30 attēli, 3 tabulas, 31 literatūras avots, 5 pielikumi. Latviešu valodā. Darba mērķis ir apkopot un izvērtēt pieredzi par kooperatīvās mācīšanās metožu izmantošanu skolēna sadarbības prasmju pilnveidei fizikas mācību procesā 9. klases elektromagnētisma tematos. Analizējot zinātnisko un metodisko literatūru, tiek piedāvāts, kā plānot elektromagnētisma tematu apguvi, integrējot mācību procesā kooperatīvās mācīšanās metodes – Ekspertu grupas un Galerija. Tiek piedāvāti metodiskie ieteikumi mācību procesa organizēšanai, kuri balstīti ne tikai uz darba autora, bet arī eksperta novērojumiem. Darbā aprakstīts, kā veikt skolēnu snieguma vērtēšanu ekspertu grupu un galerijas uzdevumu noslēgumā, izmantojot digitālos rīkus. Veikts arī skolēnu snieguma izvērtējums klases ietvarā, kā arī apkopots viņu pašvērtējums par sadarbību grupu darbos. Kooperatīvā mācīšanās palielina katra skolēna atbildību par mācīšanās rezultātu, un katra skolēna ieguldītais darbs mācību procesā ietekmē arī klasesbiedru zināšanas un sniegumu. Darba noslēgumā ir izklāstīta dalīšanās profesionālajā pieredzē, ieskaitot norādījumus, kur darba gaitā izstrādātie mācību materiāli ir pieejami ikvienam interesentam., Cooperative Learning for Improvement of Collaboration Skills in Acquisition of Year 9 Physics Electromagnetism Themes. Krīgerts, J., supervisor Dr. phys. Dudareva, I., 52 pages, 30 images, 3 tables, 31 sources of literature, 5 annexes. Written in Latvian. The aim of the work is to summarize and to evaluate gained experience about usage of cooperative learning strategies to improve student collaboration skills in acquisition of year 9 Physics electromagnetism themes. Scientific literature and methodology have been analysed to successfully integrate two cooperative learning strategies – Jigsaw and Gallery Walk – into electromagnetism themes. Methodological recommendations have been provided how to organize learning process. These recommendations are based on observations of the author of this work and on observations of an external expert. Suggestions are provided how to evaluate outcomes of the learning process by using digital tools and results are judged for each class. Students’ self-evaluation about teamwork skills has been provided. Cooperative learning increases each student responsibility. Each student involvement in the learning process influences knowledge and learning outcomes of their classmates. At the end of the work, it is described how the author shared his professional experience as well as resources where produced instructional materials are available for everyone are provided.

Zaključna seminarska naloga skuša osvetliti problematiko komunikacije muzejske institucije s svojimi obiskovalci ter vprašanje posebnosti izobraževanja v okviru muzejske institucije, pri čemer me bodo posebej zanimale prilagoditve predstavitve muzejskih artefaktov glede na različne ciljne skupine. Da lahko muzejska institucija uspešno opravlja svojo izobraževalno funkcijo, je ključnega pomena, da svojo pozornost usmeri v uspešno komunikacijo z muzejskimi obiskovalci. Dodatno je vprašanje uspešne komunikacije z obiskovalci izpostavljeno v primerih galerijskih ustanov, za katere velja, da, v nasprotju z drugimi muzejskimi ustanovami, njihove razstave še danes delujejo veliko bolj hermetično. Zaključna seminarska naloga bo zato v nadaljevanju natančneje predstavila posebnosti komunikacije v galerijskih institucijah, ki so posledica specifike galerijskega fonda in podala napotke, kako se lahko delavci v galeriji spopadajo z motnjami v komunikaciji, ki lahko ob tem nastanejo. Muzejski pedagogi so tisti, ki primarno ustvarjajo vzgojno-izobraževalne programe v muzejih, njihovo široko delovanje omogoča učinkovito in tekočo komunikacijo z muzejskimi obiskovalci, posledično je njihova naloga ključnega pomena pri delovanju muzeja in izpolnjevanju poslanstva muzejske institucije. Najbolj neposredna oblika komunikacije v muzeju, ki omogoča sprotno optimiziranje prenosa sporočila glede na dano ciljno skupino ali posameznika, so vodstva po razstavah. Dana zaključna seminarska naloga zato stremi k temu, da preko teorij komunikacije in osvetljevanja problematike posebnosti komunikacije v muzejski instituciji (natančneje v galerijskem okolju) predstavi ključne točke optimiziranja najbolj neposredne muzejske komunikacije z muzejskimi obiskovalci – vodstev po razstavi. Kaj je končni cilj izobraževanja v muzeju in kako lahko sleherno obiskovalčevo vzgojno izobraževalno izkušnjo optimiziramo? Obravnavana tema je ključna za nadaljnje raziskovanje in razvoj pristopov muzeja kot izobraževalne institucije k izbrani ciljni publiki in s tem izboljšanje izkušnje obiskovalca ter kvalitete prenosa želenih informacij o predstavljenih muzejskih predmetih. In my undergraduate thesis I will attempt to illuminate certain questions concerning communication between the museum institution and its visitors. Furthermore, I will address the question of education within the museum, my primary interest being the adjustments made when presenting certain museum artefacts to a specific target group. In order for the museum institution to successfully fulfill its educational function, it is of utmost importance that it turns its attention to applying successful communication methods in concern to its visitors. The question, or rather problem, of successful communication between the institution and its visitors, is especially evident within the gallery institutions. Unlike other museum institutions, galleries, even today, still implement a rather hermetic practice in their exhibitions. In my undergraduate thesis I will therefore shed some light on specific communication issues within the gallery institution. I will also address ways for museum workers to combat problems with miscommunication, that may occur due to the specific nature of the gallery’s collections. Museum educators are primarily the ones that create educational programmes within museums, which in turn enables efficient and flowing communication with museum visitors. Consequently, in order for the museum institution to run efficiently and to fulfill the vocation of the museum institution as part of the educational system, the role of the museum educator is of great importance. Guided tours of museum exhibitions are the most direct way of communication within the museum institution. Guided tours offer the chance to optimize the transmission of a message in concern to a certain target group or individual. The objective of this undergraduate thesis is therefore to address the questions of the specific nature of museum communication (specifically within galleries) though communication theories. In addition, I will present some key points in optimizing the most direct form of communicating within a museum aka. guided museum tours. What is the main objective of museum education and how can we optimize each individual's educational experience? The presented topic is crucial for further exploration and development of the museum’s approach towards its selected target audiences. Subsequently resulting in the refinement of the quality of transmission of desired information and the improvement of the museum visitor’s experience.

Cilj ovoga rada je izrada aplikacije čija je zadaća pohrana i prikaz umjetničkih djela korisnika. Za izradu ove aplikacije korišten je programski jezik Javascript, tj. Node.js radno okruženje te Express.js i Vue.js razvojni okviri. U radu su opisane korištene tehnologije. Aplikacija koristi MySQL sustav upravljanja relacijskom bazom podataka kako bi pohranila sve potrebne informacije o korisnicima i njihovim objavama. Izrađena aplikacija se sastoji od nekoliko stranica različitih funkcionalnosti. Glavna stranica je početna stranica na kojoj svi korisnici mogu pregledavati objavljene umjetnine. Ostale starnice se sastoje od prijave i registracije za korisnika tipa gosta, te korisničke galerije i stranice za objavu novih umjetničkih djela za registriranog korisnika. The goal of this work is to create an application whos task is to store and display user art. The language used to create this application is Javascript, or more precisely, Node.js runtime enviroment and Express.js and Vue.js frameworks. The paper describes technologies used. The application is using MySQL database management system for storing all the relevant information about the users and their submitions. The created application consists of several pages with different functionalities. The main page is the homepage that all users have access to and thez can used it to browse through submitions. The other pages consist of the register and login page for guests, and user gallery and upload page for submiting new art pieces available to the registered users.

Dok su neki spremno prigrlili nove načine komunikacije sa svojom publikom, drugi su bezuspješno pokušavali pronaći način da opstanu nakon što je globalna pandemija promijenila način rada muzejskih i ostalih kulturno-umjetničkih institucija. Onima koji su donedavno zanemarivali aspekt virtualne komunikacije ili nisu dovoljno važnosti pridavali samom korisniku, sada je to došlo na naplatu. Pojedinim takvim institucijama, novonastala situacija došla je kao alarm te podigla njihov rad na neku višu razinu, barem što se digitalnog aspekta tiče, no neke je nažalost trajno zatvorila. S ciljem ostvarenja online izložbe koja komunicira upravo ono što korisnik, u moru informacija, traži – nastaje projekt plARTforma. Projekt se fokusira na popularizaciju umjetnosti među mladima, na način da autori uz pomoć ovog projekta postaju poznatiji, a nove generacije u projektu vide zanimljiv sadržaj koji uspijeva zadržati njihovu pažnju i donijeti im neka nova saznanja. Iz tog razloga, izrada projekta, dizajn i sadržaj u potpunosti su prilagođeni digitalnom društvu i pojedincu željnom suvremenog online sadržaja. While some have readily embraced new methods of communication with their audience, others have failed to find a way to stay afloat after the global pandemic changed how museums and other arts and culture institutions conduct their work. Those who have up to now ignored the aspect of virtual communication or haven't given enough attention to the user are now feeling the negative effect of their decisions. The newly formed situation came as an alarm to some of the institutions that found themselves in the aforementioned predicament, forcing them to bring their work to a new level, at least from a digital standpoint. Unfortunately, it meant permanent closing for others. Intending to realise an online exhibition that, among a sea of information, communicates exactly with the user's wants and needs, the plARTforma project arose. The project focuses on the popularisation of art among young people in a way that helps authors get noticed, and gives new generations the opportunity to see interesting content that manages to keep their attention and brings them new knowledge. For these reasons, the project's creation, design, and content are entirely adapted to the digital society and individuals who are hungry for modern online content.

Svrha ovog završnog rada je definirati i proračunati armiranobetonsku konstrukciju. Zadana je konstrukcija galerije u Bjelovaru koja se sastoji od prizemlja i prvog kata te ima kosi neprohodni krov. Prvenstveno je bilo potrebno odrediti potrebne dimenzije svih elemenata, ustanoviti djelovanja i odabrati materijale od kojih će se građevina izvesti. Od vanjskih djelovanja u obzir je uzet snijeg. Prikazan je statički proračun ploča, greda, stubišta i stupova, a pojedine vrijednosti su uspoređene s vrijednostima dobivenima u računalnom programu. Izrađeni su planovi i iskazi armature za dijelove konstrukcije., The purpose of this paper work was to define and calculate the reinforced concrete structure. The default construction of the gallery in Bjelovar consists of a ground floor and a first floor and has a sloping impassable roof. Primarily, it was necessary to determine the required dimensions of all elements, establish actions and select the materials from which the building will be constructed. Of the external actions, snow was taken into account. The static calculation of slabs, beams, staircases and columns is shown and some values are compared with the values obtained in a computer softver. Plans and statements of reinforcement for the most important parts of the structure have been made.

Šī kvalifikācijas darba gaitā es izstrādāju lietojumprogrammu “Sketch Practice” Android operētājsistēmai. Lietojumprogramma ir paredzēta cilvēkiem, kuri grib pilnveidot un attīstīt savas zīmēšanas prasmes, pārzīmējot dažādu objektu bildes, kad tas parādas ekrānā uz ierobēžoto laika brīdi., In this coursework I have created a program Sketch Practice Application for Android operating system. The application is intended to be used by people, who want to improve their drawing skills by redrawing images that appear on the screen for a limited time.

Digitalna revolucija iz dana u dan uvodi nove platforme koje podrazumijevaju brzu prilagodbu. Kulturne institucije poput muzeja, galerija i knjižnica sve više upotrebljavaju društvene mreže kako bi održali komunikaciju s postojećim i došli do novih, potencijalnih posjetitelja. Cilj je rada prikazati kako se kultura prilagođava tehnološkom napretku i usvaja navike koje joj pomažu postati kompetitivnom u današnjem digitalnom svijetu. Za razliku od svoje misije, kultura se počinje nalaziti na prekretnici na kojoj je potrebno odlučiti treba li štovati tradiciju institucije ili okrenuti se ciljnoj skupini koja je zainteresirana za nove oblike prenošenja znanja koje donosi sveprisutna digitalna revolucija. Iako vođenje društvenih mreža kulturnim institucijama može oduzimati vrijeme, one dugoročno produljuju muzejsko, galerijsko i kazališno iskustvo nakon što se vrata institucije zatvore. Bez obzira na svoje tradicionalne stavove, kultura u današnjem stalno promjenjivom okruženju pozitivno pristupa digitalnim promjenama i nastoji biti u korak s tehnologijom koja proširuje njene mogućnosti i produljuje iskustvo. The digital revolution introduces new platforms that require quick adaptation to keep up with time. Cultural institutions such as museums, galleries and libraries increasingly use social networking sites to maintain communication with their existing visitors and new, potential ones. The goal of this paper is to show how culture adapts to the technological advances and adopts habits to become competitive in today’s digital world. Unlike its mission, culture is finding itself on a turning point where it is necessary to decide whether to stay true to its tradition and respect it or to turn to its target group that is more interested in the new ways of sharing knowledge brought by the everywhere present digital revolution. Every approach to something unknown has its risks, but also great benefits. Although keeping social networks can take away the time and seem pointless to cultural institutions, long term they exceed the experience of museums, galleries and theatres after they close its doors. Social media continues the communication about what’s been seen and experienced through photos on social media and the ability to comment and start a conversation. Regardless of its traditional attitudes, culture is positively approaching digital changes in today’s changing environment and strives to be up to date with technology that extends its capabilities and experience.

V galerijah so opisi in informacije o razstavljenih eksponatih napisani na listih in nameščeni ob njih na steni.. Cilj diplomskega dela je bil razvoj rešitve, ki obiskovalcem galerije omogoča pridobivanje informacij o razstavi na pametnem telefonu. Spletna aplikacija je namenjena zaposlenim v galeriji. Omogoča dodajanje novih zapisov v sistem ter možnost pregleda in urejanja že obstoječih. Komunikacija med spletno aplikacijo in odjemalcem poteka preko storitve REST. Mobilna aplikacija se izvaja na operacijskem sistemu Android in je namenjena obiskovalcem galerije. Vstop v aplikacijo je zaščiten z vstopnim geslom razstave, ki si jo želi obiskovalec ogledati. S skeniranjem QR-kod, ki so postavljene ob vhodih v prostore se sprehaja po galeriji in dobiva informacije o eksponatih v slikovni, tekstovni in zvočni obliki. In galleries, the information about exhibit pieces is written on sheets of paper and placed on their sides. The aim of this diploma thesis was to develop a solution, which would enable the visitors of the gallery, to obtain information about the exhibition on a smart phone. Web application is intended for the gallery employees. It enables to add new records into the system and offers the possibility to check and arrange the already existing ones. The communication between the web application and the user is carried out through the REST service. Mobile application is performed on Android operating system and it is meant to be used by visitors. The access to the application is protected with the password of the exhibition the visitor wishes to see. The visitor strolles through the exhibition with scanning the QR-codes, positioned at room entrances, and receives information about exhibits in visual, text and voice form.

Umetnostna galerija Maribor se že vrsto let ukvarja z pomankanjem prostorov. Prostori v prenovljeni Minoritski cerkvi pa so neizkoriščeni. Projektna naloga vsebuje analize in projektni del. Na podlagi analiz se Umetnostna galerija Maribor in Minoritska cerkev povežeta z podzemno povezavo. To da galeriji nove prostore, cerkev pa oživi. Povezava poteka od južnega dela nekdanje kresije, mimo arheoloških ostankov Koroških vrat in bastije, skozi hišo Koroška cesta 21, mimo mestnega obzidja, pod Vojašniškim trgom do cerkve. Povezava poveže tri pomembne stavbe, ki daje možnost razširitve tudi na ostale muzejske stavbe, kot so objekt na Koroški cesti 19 in Tri babe. Maribor Art Gallery has been dealing with a lack of space for many years. However, there is room/space in the renovated Friors Minor Conventual Church that remains idle. This dissertation consists of analyses and a project part. Based on the analyses, the Maribor Art Gallery and the Friors Minor Conventual Church are linked with an underground connection. This adds new space to the gallery and invigorates the church. The connection runs from the southern part of the former Kresije building, past the archaeological remains of the Koroška Vrata District and the tower, through the house on Koroška Street 21, past the city walls and under the Vojašniški Square to the church. The connection links together three important buildings, which allows for even further expansion on the other museum buildings, such as the object on Koroška Street 19 and Tri babe.

Fotogrāfiju koplietošanas mājaslapas “Piclr” sākotnējais mērķis bija bilžu glabāšana sistēmā un koplietošana starp atsevišķiem un visiem mājaslapas lietotājiem. Šī brīža ietvaros “Piclr” nodrošina bilžu un albūmu glabāšanu un dzēšanu datu bāzē, kā arī cita lietotāja galerijas aplūkošanu. Projekts ir realizēts Java EE 8 tīmekļa lietotņu izstrādes platformā un MySQL 5.7 datu bāzu vadības sistēmā. Lietotne tika izvietota uz WildFly 10.1 servera. Galvenie 8 sistēmas moduļi ir: Reģistrēšanas/pieslēgšanas modulis, paroles atjaunošanas modulis, galerijas modulis, koplietošanas modulis, profila modulis, ziņojumu modulis, meklētāja modulis un administratora modulis., Initial goal of photo sharing website "Piclr" was picture storage and sharing with specific users or with every website user. For now “Piclr” website provides picture and album storage and deletion, as well as other user gallery inspection. Project was made using Java Platform Enterprise Edition 8 and MySQL 5.7 database management system. Application was deployed on WildFly 10.1 server. System consists of 8 main modules: Register/log in module, password reset module, gallery module, share module, profile module, report module, search module, administrator module.

Skirtingų šiuolaikinio meno sričių recepcijos Lietuvoje schizma yra gana reikšminga: abstraktus vizualinis menas priimtas jau keletą dešimtmečių, o nelogiški postdraminiai pasirodymai laikomi nenormaliais nukrypimais nuo „teisingo“ kelio. Nepaisant to, jauni režisieriai ir aktoriai ne tik stengiasi rasti savo individualų kelią, bet jų darbai parodo ir tam tikrus dėsningumus bei panašų požiūrį į kūrybą. Artūras Areima, Paulius Markevičius, Aleksandras Špilevojus, Birutė Kapustinskaitė – tik keletas jaunų kūrėjų, atsisakančių griežto skirstymo į „režisierius“ arba „aktorius“. Dažniausiai jie siekia bendradarbiauti ir keisti žiūrovų požiūrį į erdvę. Savo pasirodymuose kūrėjai naudoja itin performatyvų baltą galerijų kubą ar juodą dėžę. Kuriama erdvė be atminties, nesusijusi su praeitimi, esanti tik čia ir dabar. Kūnas nebesvarbus, bet stiprus jo buvimas geismo ir skausmo kūniškumą sugrąžina į balso ir kalbos pasaulį. Tas pats atsitinka su balsu. Vokalinė komunikacija neegzistuoja arba kai kuriuose pasirodymuose atsiduria krizėje. Bet mikrofonai naudojami labai aktyviai, jais bandoma pasiekti gelmę, esmę, garsas virsta rėkimu. Mikrofonų vaidmuo taip pat kinta – jie nebėra modernybės ženklas ar silpno balso stiprinimo priemonė: rėkimas tampa pasirodymo esminiu objektu ir žinia. Stovėjimas prieš auditoriją ir savo istorijos pasakojimas – tai vyksta scenoje. Bet pasakojimai nėra autentiški, performuojama realybė ir net identitetas, nepastovus kaip socialiniuose tinkluose. Kai kuriems kūrėjams pasakojimas yra daug svarbesnis nei jo autorius, pagrindinis dalykas – galimybė komunikuoti. Dalyvauja ne tik aktorius, bet ir žiūrovas, abi pusės įsitraukia ir bendradarbiauja, atsiliepia į vienas kito idėjas, savimonę ir gauna grįžtamąjį ryšį, atveriantį naujus dialogo kelius. Schism between receptions of different modern arts in Lithuania is quite significant: abstract visual art has been accepted for some decades and non-consequential and/or postdramatic performances are treated like abnormal deviations from the “right” way. Nevertheless, young directors and actors try to go not only their individual way, but their creations show some regularities and similar approaches towards the theme. Artūras Areima, Paulius Markevičius, Aleksandras Špilevojus, Birutė Kapustinskaitė – they are only a few of a bunch of young creators who don’t divide their work into strictly ‘directors’ or ‘actors’. Mostly they work in a collaborative way and try to change spectators’ attitude towards space. They use white cube in the galleries or black box of the stage for their performances which deal with the performativity very much. Space is preferred to be without memory, not signalizing any past, just pure here and now. Body is no longer significant, but the strong presence of it implies tension to return physicality of craving and pain into the world of voice and language. The same is with voice. Vocal communication doesn’t exist or reaches crisis in some performances. But microphones are used very actively and sometimes just like an amplifying media of straight communication which turns into a scream. But the microphone also changed its role – it is no longer a sign of modernity nor a means to strengthen weak voice: howl is an essential subject and message of the show. Standing before the audience and speaking real his/her own stories – that is the scene on stand-up comedy. But stories are changed into non-authentic ones, and here we see not only performed subjectivity, but identity which is liquid like in social networks. For some of the creators the story is much more important than the author of it, and the possibility to communicate is the main subject. Not only the artist is present – the spectator is present too, and here we see participation from both sides as co-presence, as real involvement which allows to create responsiveness to one another’s ideas, self-awareness and feedback loop which leads to a new way for a dialogue.

Straipsnyje analizuojama kūrybos miestų koncepcija, jų tipai, kūrybos miestų konkurencingumo didinimo sprendimai bei kūrybos klasteriai. Siekiant identifikuoti ir išanalizuoti Kauno miesto galerijų kūrybos klasterį, buvo atliktas kokybinis tyrimas. Tyrimo rezultatai atskleidė, kad Kauno senamiestyje egzistuoja besiplėtojantis tarptautinis galerijų paslaugų klasteris, kuris orientuojasi į vietinę rinką ir apima 14 skirtingų rūšių organizacijų. Bendradarbiavimas tarp šių organizacijų atsiskleidžia per informacijos sklaidą, nuolaidų sistemą, visokeriopą pagalbą, patalpų nuomą bei bendrų projektų organizavimą. Klasterio gylis ateityje turėtų intensyvėti, kadangi atsiveria galimybės įtraukti daugiau pramonės sektoriaus įmonių. Klasterio gylis ir tarptautinis bendradarbiavimas atskleidžia atvirą klasterio struktūrą - jis susijęs ne tik su miestu, bet ir su užmiesčiu (kur daugiausiai telkiasi), jis išplitęs ir už šalies ribų. Klasteris bendradarbiauja su įmonėmis, kurių veikla tiesiogiai nesusijusi su galerijų veikla. The article presents and analysis of the concept of creative cities, their types, solutions to increase creative city competitiveness, and creative clusters. In order to identify and analyse the creative cluster of Kaunas city art galleries, a qualitative research was carried out. The results of the research revealed that Kaunas Old Town includes a developing international art gallery service cluster that is oriented towards local market and encompasses 14 different types of organisations. Cooperation among these organisations manifests through spread of information, discounts, various kinds of help, premise leasing and organisation of common projects. The depth of the cluster should be growing in the future due to the possibility to include more companies in the industrial sector. The depth of the cluster and international cooperation reveals the open structure of the cluster, i. e., it crosses over not only Kaunas city (where the cluster is mostly concentrated) but also the borders of the country. The cluster cooperated with companies whose activities are not directly related with art gallery activities.

Postanak Muzeja (donedavno Galerije) likovnih umjetnosti u Osijeku vezan je uz Muzej Slavonije, u okviru kojega je dugi niz godina institucionalno i prostorno egzistirala kao zbirka slika i skulptura. Od prvoga izdvojenoga izložbenog postava, 1941., u okrilju Muzeja Slavonije u Osijeku, drugog iz 1952., pa do izdvajanja iz Muzeja Slavonije i formalnog osamostaljenja 1954. te konačno preseljenja u nov muzejski prostor 1964., ovaj osječki specijalizirani umjetnički muzej vrijednoga fundusa bilježi svoju povijest. U radu će se osim povijesti ustanove i njezina djelovanja razmatrati njezin odnos s matičnim Muzejom Slavonije iz koje se izdvojila u samostalnu muzejsku ustanovu, njezina uloga institucije povijesti umjetnosti u gradu i u regiji te u nacionalnim okvirima, kao i stručni i znanstveni doprinos njezinih djelatnika.

Tīmekļa lietotnes "Galerija" mērķis ir apvienot gan profesionālo mākslinieku gan iesācēju darbus vienotajā datubāzē ar mērķi parādīt savus mākslas darbus cilvēkiem kā arī pārdot savas gleznas. Šī lietotne palīdzēs jaunajiem māksliniekiem kļūt pamanītiem kā arī ļaus viņiem piesaistīt jaunus pasūtītājus. Savukārt, cilvēkiem , kam patīk māksla, šī būs piemērota vieta kur apskatīt visdažādākos mākslas darbus. Sistēmas tehniskais apraksts satur programmatūras prasību specifikāciju, funkcijas, projektējuma aprakstu, datu bāzu projektējumu un sistēmas saskarnes. Projektā ir iekļauta arī testēšanas dokumentācija un pirmkoda fragmenti, kā arī darbietilpības novērtējums., The purpose of the project “Web Galery” is to collect all the professionals and also beginner painter work into unified database. The goal is to show art to the large group of people. This web application will help novice painters to become noticed and attract potential buyers. But for those who really enjoy art this will be a good place to see different artworks and to purchase favorite ones. The system`s technical overview includes the description of requirements, functions, project overview, database design, interfaces. Also there was included testing documentation, source code fragments and assessment of effieciency.

Potrebe po robotizaciji se nenehno večajo. Zato bi lahko robotizacijo prenesli tudi v okolja, kjer še ni tako domača, na primer v galerije. Zato sem razvil uporabniški vmesnik za robotskega vodiča, ki je izveden na štirikolesnem robotu Pioneer P3-AT proizvajalca MobileRobots. Po uvodni predstavitvi problema je v drugem poglavju podan opis funkcionalnosti sistema in razvoj vmesnika. Vmesnik je napisan v programskem okolju Borland C++ Builder 5 in programskem jeziku C++. Namen vmesnika je enostavno sestavljanje vodenih ogledov v galerijah. Za testiranje vmesnika v začetnih fazah sem uporabljal simulatorje, ko pa je bil vmesnik dovolj razvit, sem vse skupaj preizkusil še na robotu. V diplomskem delu so opisana uporabljena orodja, programsko okolje, štirikolesni robot in način izvedbe diplomske naloge. The need for robotization is constantly increasing. Therefore, robotics could also be transferred to the environment where it is not so familiar, for example Gallery. That is why I developed the user interface for robot guide that is four wheel robot Pioneer P3-AT from MobileRobots brand. After initial problem presentation a description of the system functionality and interface development is given in the second chapter. The interface is written in programming environment Borland C ++ Builder 5 and in programming language C ++. The purpose of the interface for simple assembly of guided tours in the galleries. To test the interface in the early stages I was using simulators, but when the interface was sufficiently developed I have tried the whole thing on the robot. In this graduation thesis are described used tools, the programming environment, four wheel robot and the method of implementation graduation thesis.

Kulturna dobra svjedoče o lokalnom identitetu i predstavljaju prepoznatljive modele kvalitetno izgrađenog prostora. Ponekad je zaista teško balansirati između zahtjeva vlasnika, vlastite ideje i savjesti projektanta, a istovremeno paziti da sve bude unutar zakonodavnog okvira. U održivom korištenju i upravljanju graditeljskom baštinom kao i pri uspostavljanju ravnopravnosti povijesnog i suvremenog arhitektonskog izraza, sustav registracije novih zgrada koje trebaju, odnosno moraju biti registrirane i zaštićene, treba učiniti cjelovitim, sveobuhvatnim i transparentnim, a takav sustav u svakom trenutku treba biti dostupan stručnjacima, javnosti i ulagačima.

Mājas lapa ir paredzēta, lai uzņēmums SIA “Endeko” varētu padarīt savus pakalpojumus pieejamākus plašākam klientu lokam kā līdz šim. Mājas lapas galvenie mērķi ir radīt mājas lapas viesim izpratni par uzņēmuma darbību, dot vizuālu ieskatu projektos, kā arī piedāvāt iespēju sazināties, lai veidotu tālāku sadarbību, kā arī uzņēmuma darbiniekiem nodrošināt vienkāršu informācijas pievienošanu, saglabāšanu un atjaunošanu mājās lapā., The idea of SIA „Endeko” home page is to get company’s services more accessable for anyone. Main purpose is to show home page visitor conception of company’s work and give visual insight in latest projects, provide possibility to contact SIA „Endeko” to start coorperation. For company’s employees home page must provide simple user interface to add, save and edit information.

V diplomskem delu sem obravnavala prenovo področja stare mlekarne v Tübingenu v Nemčiji. V prvem sklopu diplomskega dela sem predstavila Tübingen, kratek zgodovinski razvoj, samo mesto in območje obdelave. V drugem sklopu sem poskušala analizirati območje obdelave da dobim čim boljši pregled trenutnega stanja ter podlago za urbanistično in arhitekturno prenovo področja. V tretjem sklopu sem analizirala referenčne primere hostlov ter družinskega centra z razlago idej in koncepta. Sledita standardi za projektiranje hostlov in družinskih centrov ter urbanistična in arhitekturna zasnova. Z projektom sem skušala ukazati na možnost spremembe soseske in življenja prebivalcev s ciljem razvoja visoko kakovostnega življenskega sloga, socialne ter kulturne mešanice obiskovalcev in poživitev celega območja. In the thesis I have discussed the renovation of an old dairy area in the field of Tübingen in Germany. In the first part of the thesis I presented Tübingen, a brief historical development, the city itself and the area of redesign. In the second part I tried to analyzed the area to get the best possible overview of the current situation and the basis for the architectural and urban design. In the third section, I analyzed reference examples of the hostels and family center with the interpretation of ideas and concepts. Followed by the standard for the design of hostels and family centers and urban and architectural design. With the project I tried to show at the possibility of changing the neighborhood and people’s lives in order to develop high-quality lifestyle, social and culture mixture of visitors and revitalizing the whole area.

Cilj ovog rada je opis portala za pohranu i prikaz slika Picsy. Picsy je namjenjen širokoj populaciji ljudi koja se koristi bilokakvom fotografijom, obradom, izradom slika i sl. Činjenica je da ovakvi portali već postoje na internetu, no sama ideja za izradu Picsy-ja došla je nezadovoljstvom uzorokovanim „natrpanošću“ nepotrebnih stvari već postojećih web portala iste namjene. Picsy nudi jednostavnost, ugodan dizajn i jednostavno korištenje uz različite mogućnosti. Ovaj rad ukratko opisuje tehnologije, način rada, dizajn i sami rad web portala. Opisani su programski jezici, frameworkovi te templating engine koji su potkrijepljeni primjerima, slikama i opisom funkcioniranja istih te kod nekih i sama povijest kako se spomenuta tehnologija koristila i razvijala.

Kreirati prostor za određeno umjetničko djelo traži od arhitekta razumijevanje umjetnosti za koju stvara prostor, a u ovom slučaju tražio je i razumijevanje ambijenta i regije u kojoj je nastajala naivna umjetnost. Ovo su počeci Begovićevog istraživačkog rada na društveno osmišljenim koncepcijama suvremenih muzeja za umjetnost, kojima jasno određuje neodvojivost umjetničkog djela od prostora na kojima je nastalo. Njegovo je polazište da umjetničko djelo u muzeju dobiva umjetnički smisao, bez obzira na njegovu stvarnu materijalnu vrijednost.

Arhitekt Dominik Kunkera autor je urbane note naselja Novalja. Svoju vlastitu rodnu kuću, težačko zdanje, preoblikovao je u modernu galeriju koja je primjer njegova arhitektonskog rada. Galerija nazvana "Era" navršila je dvadeset i pet godina. Knjiga donosi i pregled svih održanih izložaba.

Članak raspravlja o semiotičkom identitetu suvremene umjetničke zbirke na Internetu. Rasprava prati promjenu shvaćanja umjetničke zbirke od nepromjenljive akumulacije vrijednosti u fizičkom prostoru do suvremenog razumijevanja zbirke u vidu akumulacije promjenljivih semantičkih uzoraka ili uputa za webkorisnike. Autor se u radu koristi vizualno-semiotičkom analizom, provedenom kroz metode analogijske, predikativne, te konačno nepotpune indukcije. U tom smislu autor demonstrira analitičku primjenu Peirceove klasifikacije znakova na dvije muzejske zbirke smještene u fizičkom prostoru, odnosno na njihove Internet-inačice, te na nekoliko umjetničkih projekata – nastalih u kontekstu Interneta – koji projiciraju smjernice za stvaranje zbirki u okruženju Weba 3,0., The article is focused toward the semiotic identity of the contemporary art collection on the Internet. The debate follows the change of understanding of the art collections which starts as immutable accumulation of values in the physical space, and ends up with modern accumulation of variable semantic patterns or instructions for web users. The author explores visual and semiotic analysis, conducted through the method of analogy, followed by predicative and incomplete induction. In this context author demonstrates the application of Peirce’s classifications of signs on two museum collections housed in the physical space, on their Internetversions as well, and on several art projects - made in the virtual space of the Internet - which were projected to create future guidelines for collections in the Web 3.0 environment.

Rad opisuje koncept oblikovanja galerije Miroslav Kraljević za izložbu O stanju nacije umjetnice Andreje Kulunčić. Rad je rezultat istraživanja održive arhitekture u sklopu kolegija " Projektiranje i oblikovanje održive arhitekture" tijekom II. semestra Doktorskog znanstvenog studija "Arhitektura" na Arhitektonskom fakultetu Sveučilišta u Zagrebu.

30. izložba izdavačke djelatnosti hrvatskih muzeja i galerija : Interliber, 34. međunarodni sajam knjiga i učila, Zagrebački velesajam, 8. - 13. studenoga 2011.

Za zbirku fra Stjepana Pavića arhitekt Prtenjak projektirao je jedinstven prostor artikuliran slobodnim razdjelnim zidnim „lamelama“ koje omogućuju kronološko i „esejističko“ strukturiranje građe te obilje promjenljivih vizualnih doživljaja, čineći relativno mali prostor velikim i neiscrpnim.

V diplomski nalogi sem raziskoval fenomen »grafita« in položaj »umetniškega« grafita v okolju priznane umetnosti. Velja namreč splošno prepričanje, da je grafit nezaželen način izražanja posameznikov, ki se srečujejo s komunikacijskim deficitom. Leta 1991 so avtorji zagrebške knjige Grafiti i subkultura navedli pet determinantnih elementov, ki naj bi definirali grafit, med katere so uvrstili tudi neformalnost in neinstitucionalnost. Razbrati je torej, da formalni oz. institucionalni grafit ne obstaja. Kot cilj naloge bom poskušal dokazati, da grafit in street art že nekaj časa nista le izrazno sredstvo marginalnih skupin mladostnikov, ampak predstavljata pomemben del sodobne umetnosti. Besedo »institucionalno« v tem kontekstu ne bomo navezovali le na galerijsko ali muzejsko okolje, torej institucijo kot takšno, pač pa jo bomo razumeli kot splošno priznanje in sprejetje določenih oblik grafitnega izražanja v svetu t.i. visoke umetnosti. Poizkušali bomo ugotoviti, kaj zajema fenomen grafita, kdo so grafitarji, in kaj se zgodi, ko grafit preide iz neformalne v formalno obliko umetniškega izražanja. Za razumevanje fenomena grafita sem najprej pogledal v njegov zgodovinski razvoj. Tako sem spoznal položaj in dojemanje te vrste izražanja skozi različna časovna obdobja in to primerjal z današnjim stanjem. Zanimalo me je predvsem dogajanje v ZDA in Evropi, kjer sta grafit in street art najbolj razvita. Izpostavil sem nekaj najbolj legitimnih avtorjev, ki so s svojim grafitnim ustvarjanjem uspešno prodrli v svet »visoke« umetnosti. Ob koncu naloge sem se dotaknil še slovenske grafitske scene, ki se je pred nekaj leti znašla na prelomni točki v dojemanju umetniškega grafita v instituciji. Pod drobnogled sem vzel prvo slovensko razstavo grafitov imenovano Grafitarji, ki je leta 2004 potekala v Ljubljani. In my diploma paper I researched the “graffiti” phenomenon and the position of “artistic” graffiti within the environment of established arts. A widespread belief suggests that graffiti is an unfavourable means of expression, employed by individuals suffering from communicational deficit. In 1991, the authors of the Croatian book Grafiti i subkultura suggested five determinative elements that define graffiti, among which they included informality and non-institutionality. It is safe to conclude, therefore, that formal or institutional graffiti does not exist. The goal of my paper is to prove that graffiti and street art have surpassed their role as a means of expression of marginalized groups of adolescents, and have become an important part of modern arts. In the context of my paper, the word “institutional” will not be used only to apply to institutions such as galleries and museums, but will be understood as a general acknowledgment and acceptance of certain forms of graffiti in the world of so-called high art. I will try to establish what the phenomenon of graffiti includes, who graffiti artists are and what happens when graffiti transforms from an informal to a formal mode of artistic expression. To understand the phenomenon of graffiti, I first examined its historical development. I researched the position and perception of this mode of expression through various periods of time and compared it with the current situation. I was interested mostly in USA and Europe, where graffiti and street art are most developed. I pointed out some of the more legitimate authors who have been able to successfully enter the world of “high” art with their graffiti work. At the end of the paper I also touched upon the Slovenian graffiti scene, which had, a couple of years ago, experienced a drastic shift in the perception of artistic graffiti in institutions. I focused on the first Slovenian graffiti exhibition (Grafitarji), which took place in Ljubljana in 2004.

Diplomsko delo z naslovom »Izkustveno učenje po modelu Davida A. Kolba v galeriji« je sestavljeno iz teoretičnega in empiričnega dela. V teoretičnem delu naloge predstavljamo vzgojno in izobraževalno vlogo galerije. V nadaljevanju smo predstavili izkustveno učenje po modelu Davida A. Kolba, ki smo ga prenesli na vzgojno-izobraževalno delo v galeriji. V tem delu naloge bomo predstavili pedagoške aktivnosti v Umetnostni galeriji Maribor, pri katerih smo ugotovili, da že vsebujejo elemente izkustvenega učenja. Predstavili bomo didaktični pripomoček, naloge in igre, ki smo jih oblikovali po Kolbovem modelu in ki so primerni za uporabo v galerijskem izobraževanju ob razstavi Poletje, predlogi za stalno zbirko v UGM. Z diplomsko nalogo želimo pokazati pomembnost vključevanja izkustvenega učenja v vzgojno-izobraževalno delo galerije, kjer ima osrednjo vlogo osebna izkušnja učenca. Z anketnim vprašalnikom smo v empiričnem delu diplomske naloge predstavili mnenja učiteljev o didaktičnem vodenju po razstavi Poletje, predlogi za stalno zbirko in o uspešnem vključevanju izkustvenega učenja vanj. Ob vodenju smo galerijski animatorji kot pripomočke uporabljali didaktične igre in naloge, ki smo jih oblikovali po Kolbovem modelu izkustvenega učenja. Navedene didaktične pripomočke smo uporabljali pri različnih starostnih skupinah, ki smo jih priredili glede na njihove individualne in specifične lastnosti. Glede na lastne izkušnje in glede na rezultate anketnega vprašalnika smo ugotovili, da izkustveno učenje po Kolbovem modelu odlično vpliva na vzgojno-izobraževalno delo v galeriji, na obiskovalce in tudi na nas, izvajalce. Izkustveno učenje je dvosmerno učenje, ki je tudi nas obogatilo z novimi izkušnjami. This production thesis entitled “Experiential Learning According to David A. Kolb’s Model in an Art Gallery” is composed of the theoretical and empirical parts. In the theoretical part, the educational role of an art gallery is presented. Furthermore, experiential learning according to David A. Kolb’s model which was transferred into the educational work in an art gallery is presented. In this part of the production thesis, we are going to present the pedagogical activities in the Maribor Art Gallery. We have ascertained that they already contain elements of experiential learning. We are going to present the didactic tool, assignments, and games which we have designed according to the Kolb’s model and which are suitable for the use in gallery education of the exhibition Summer, proposals for a permanent collection (Slo., Poletje, predlogi za stalno zbirko) at the Maribor Art Gallery. With this production thesis, we strive to present the importance of the inclusion of experiential learning into the educational gallery work where the centre role is the personal experience of pupils. With the questionnaire, we have in the empirical part of the production thesis presented the opinions of teachers about the didactic guidance through the exhibition Summer, proposals for a permanent collection, and about the successful inclusion of experiential learning into it. During this guidance, gallery animators have used didactic games and assignments which were designed according to the Kolb’s model of experiential learning. The above-mentioned didactic tools were used with various age groups and the assignments were adjusted according to the individual and specific characteristics of the pupils. According to our personal experience and the results of the questionnaire, we have ascertained that experiential learning according to the Kolb’s model excellently influenced the educational work in the gallery, the visitors, and us, as well. Experiential learning is a two-way learning which also enriched us, giving us new experience.

29. izložba izdavačke djelatnosti hrvatskih muzeja i galerija: Interliber, 33. međunarodni sajam knjiga i učila, Zagrebački velesajam, 10. - 14. studenoga 2010.

Kosta Strajnić došao je 1928.g.u Dubrovnik na poziv Ivana Meštrovića i Marka Murata. Zaposlio se kao pomoćni konzervator u nadleštvu za umjetnost i spomenike, no ubrzo nakon dolaska u Dubrovnik objavljuje članak s naslovom "Za umjetničku aktivnost DUbrovnika" u časopisu "Dubrovnik". Tu iznosi svojevrstan program svog budućeg djelovanja, analizirajući kulturne prilike u gradu i potrebu osnivanja niza institucija za pokretanje umjetničkog života. Iznio je niz inicijativa, od pokretanja galerije suvremene umjetnosti, likovne akademije, škole dekorativnih umjetnosti i reorganizacije postojećih institucija, muzeja i arhiva. Ostvario je samo dio predloženih inicijativa, otvorio je Umjetničku galeriju, a u svom domu okupljao je mlade umjetnike na likovne poduke i poticao ih na rad, te je na taj način utjecao na stvaranje povoljne likovne klime za razvoj suvremene umjetnosti.

Šiame darbe apžvelgtos įvairios trimatės galerijos ir jų kūrimo principai. Atlikta programų ir įrankių, skirtų galerijoms kurti, analizė. Atlikta VRML programavimo kalbos galimybių ir jos taikymų trimatės grafikos sistemose analizė. Supažindinama su šablonų generavimo būdais. Atlikta įskiepų, skirtų trimačių galerijų naršyklėse peržiūrai, analizė. Panaudojant ArchiCad projektavimo įrankį ir VRML kalbą, sukurtas trimatis galerijos šablonas. This paper reviews various three – dimensional galleries and their development principles. There was made an analysis of programmes and tools, which were designed for the creation of galleries. The analysis was also made of VRLM programming language – its options and applications in three–dimensional graphics systems. This work acquaints with methods of template generation. There was made an analysis of plugins, which are intended for the viewing in the browsers of three–dimensional galleries. There was created the three–dimensional template of the gallery, by using ArchiCad and VRML design tool.

U Neumu je tijekom 2007. god. uz blagdan Gospe od Zdravlja, patron župe i dan općine Neum, otovorena već registrirana na županijskom sudu u Mostaru ustanova pod nazivom « Muzej i galerija Neum» . Ustanova, dakle, dvostrukog karaktera: muzej i galerija. U muzejskim vitrinama našli su dostojan smještaj brojni i doista vrijedni arheološki ostaci s područja donje Hercegovine, a na zidovima isto tako brojne umjetnine prikupljene od nekoliko vrijednih donacija dr. Vjeke Bože Jaraka te u većem omjeru radovi « Umjetničke kolonije Neum» koja se u ovom gradu u vrijeme pred ostvaranje sezone održava više od desetljeća. Ovim kratkim prikazom želi se prikazati široj javnosti ono najvrijednije u muzejskim vitrinama ove ustanove.

28. izložba izdavačke djelatnosti hrvatskih muzeja i galerija : Interliber - 32. međunarodni sajam knjiga i učila, Zagrebački velesajam, 11. - 15. studenoga 2009.

Nekoliko vrijednih donacija zbirki umjetnina dr. Vijeke Bože Jarka, zapaženi rad Umjetničke kolonije Neum kroz posljednjih jedanaest godina i pojedinačni darovi nekih umjetnika i vlasnika umjetnina rezultirali su utemeljenjem galerije u suterenu neumske župske crkve Gospe od Zdravlja u Neumu. S druge strane, vrijedni arheološki nalazi pretpovijesne grobnice u Vranjevau Selu kao i velikodušno ustupanje privatnih zbirki više sakupljača starina na ovome prostoru bili su poticaj da se u Neumu u tijeku 2007. godine utemelji jedinstvena ustanova pod nazivom Muzej i galerija Neum. Ustanova je već u samim početcima po broju eksponata i njihovoj vrijednosti dosegla zavidnu razinu.

Neum je tijekom 2007. god. dobio vrijednu kulturnu ustanovu s naslovom Muzej i Galerija Neum. Kao Muzej ustanova prvenstveno ima zadatak spašavati od propadanja kulturnu baštinu ovoga područja, te je prezentirati javnosti na doličan način. Kao Galerija ustanova je dom brojnim umjetninama, osobito onima koje se stvaraju u Neumu za vrijeme ustaljene umjetničke kolonije koja se ovdje organizira već više od desetljeća.

Zagrebački salon reprezentativna je godišnja izložba suvremenog likovnog stvaralaštva Republike Hrvatske koju je 1965. godine utemeljila Skupština grada Zagreba. Od 1976. godine na izložbi se u trijenalnom ritmu izmjenjuju različite likovne discipline: vizualna umjetnost, primijenjena umjetnost/dizajn i arhitektura. Zagrebački salon arhitekture selektirana je izložba na koju arhitekti prijavljuju projekte i realizacije nastale u periodu od tri godine. 38. zagrebački salon (arhitektura i urbanizam) predstavlja radove koje je odabrao gost selektor iz Italije Stefano Boeri za razdoblje od 2000 - 2003. Autori su na izložbi zastupljeni s 4 autorska projekta, od čega su dva projekta u konkurenciji za nagrade (u sekciji 'collective buildings' odabran je projekt Međugradskog autobusnog kolodvora u Sisku ; u sekciji 'interior design' odabran je realizirani projekt salona La Coulisse u Zagrebu) i dva projekta van konkurencije za nagrade (u sekciji 'collective buildings' je projekt Centra za socijalnu skrb u Sisku ; u sekciji 'housing' je projekt stambenog niza za POS u Buzetu). Izložba je održana u prostoru Gliptoteke HAZU u Zagrebu.

Realizirani projekt unutrašnjeg uređenja dvoetažnog prostora frizerskog salona i galerije, u Centru Kaptol u Zagrebu, Hrvatska.

Na putu arhitektonskog parcoursa Plečnikovam Ljubljanom, između čuvenih kejova Ljubljanice i Nacionalne biblioteke oblikovani su u jednoj kući iz Setecenta, galerijski i barski prostori, čime se u srednjeevropsku atmosferu grada unosi duh Mediterana. Oblikovna metoda vezana je kako uz srednjeevropski arhitektonski diskurs, tako i za mediteransku tjelesnost i prezentnost forme. Taj se dualitet kontinuirano očitava pri oblikovanju prostora, već u prijelazu s javnog prostora ulice u polujavni galerijski. "Odjevanje kuće" jasno deklarira i moguću ograničenost svojeg trajanja, pri čemu struktura kuće ostaje jasna i čitljiva.