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The object of master thesis' research is the aesthetics of public space in shopping malls in Lithuanian cities. The paper researches the object-forming factors, evaluation criteria and analysis, historical, socio-cultural and political context, philosophical, psychological and art research findings, the ratio of the global image culture. The thesis of the paper analyses seven major shopping malls in Lithuania, rendering the most common aesthetic patterns and inherent aesthetic qualities, that are peculiar in Lithuanian largest shopping centres. The method of research is based on three key elements of visual space: meaning, structure and identity. The context of meaning is presented in the first chapter, overviewing historical development of the concept of public space. Its conclusion is that a shopping mall is a field for aesthetic representations of economic power. The second chapter examines the structure of space. It is suggested that shopping malls are simulating urban public spaces for the consumer-oriented reasons. Therefore, the method of comparison between urban and shopping mall spaces is applied. As a result, the most specific elements and their transformations common both to the shopping mall and urban public spaces are distinguished and analysed. The third chapter examines identity. It analyzes themes and motives of interior design, also comparing aesthetics of shopping malls with the global image culture. It is concluded that the shopping mall is an inherent stage for the expression of the global image culture. The structure of thesis paper is: introduction, three chapters, conclusion, references and illustrations, appendix. Thesis consists of: 106 p. text without supplements, 66 pictures, 1 table, 121 bibliographical entries. Appendix included.

The object of master thesis' research is the aesthetics of public space in shopping malls in Lithuanian cities. The paper researches the object-forming factors, evaluation criteria and analysis, historical, socio-cultural and political context, philosophical, psychological and art research findings, the ratio of the global image culture. The thesis of the paper analyses seven major shopping malls in Lithuania, rendering the most common aesthetic patterns and inherent aesthetic qualities, that are peculiar in Lithuanian largest shopping centres. The method of research is based on three key elements of visual space: meaning, structure and identity. The context of meaning is presented in the first chapter, overviewing historical development of the concept of public space. Its conclusion is that a shopping mall is a field for aesthetic representations of economic power. The second chapter examines the structure of space. It is suggested that shopping malls are simulating urban public spaces for the consumer-oriented reasons. Therefore, the method of comparison between urban and shopping mall spaces is applied. As a result, the most specific elements and their transformations common both to the shopping mall and urban public spaces are distinguished and analysed. The third chapter examines identity. It analyzes themes and motives of interior design, also comparing aesthetics of shopping malls with the global image culture. It is concluded that the shopping mall is an inherent stage for the expression of the global image culture. The structure of thesis paper is: introduction, three chapters, conclusion, references and illustrations, appendix. Thesis consists of: 106 p. text without supplements, 66 pictures, 1 table, 121 bibliographical entries. Appendix included.

The aim of the master's degree thesis " The Development Outline of the Lithuanian television's visual aesthetics (1957-2007)" is to outline the development and highlight the peculiarities of visual aesthetics in the Lithuanian television. The position of the artist (costume designer, scenographer, make-up artist, dresser) as well as his/her contribution to the telecasts in the Lithuanian television have been analyzed in theoretical, historical and practical terms. The topic of the research covers the following: the analysis of of the visual aesthetics features in the Lithuanian television in a particular period; the analysis of specific aesthetics in different kinds of the telecasts; highlighting the peculiarities of the visual aesthetics based on the analysis of different segments of the telecasts. The Lithuanian television has always mirrored political, cultural and economical events of a particular period. This also applies to the visual aesthetics, the analysis of which is the main issue of the paper. In a 50-year development of the Lithuanian televisions' visual aesthetics, technical, technological and professional growth of the artists has become obvious. In the conclusion, the hypotheses provided in the paper are highlighted. In the first considered period the emphasis is on the professionalism and aesthetic whole of the telecasts. In the second period competativeness and commercialism, along with the growth of technological, technical and financial possibilities, start finding their way to the Lithuanian television. However, the demand for an aesthetic whole is on the decrease. Today many professionals-costume and make-up designers, decorators work in the Lithuanian television. Yet, there is not a single person who could consolidate their efforts and coordinate their action directed towards a common goal. In analysing the development of variable key segments of the Television aesthetics the importance of the artist and costume designer is of utmost importance. Fashion trends − trendy make-up, costume − had a relative impact on the Television aesthetics at all times. At present innovative technologies and development of facilities are in the focus of attention.The genre and stylistics of the telecasts are being levelled. As concerns the news' telecasts, they are steadily on the same track. By this paper an attempt has been made to attract more attention to the development of Lithuanian television's visual aesthetics as well as its current trends.

The aim of the master's degree thesis " The Development Outline of the Lithuanian television's visual aesthetics (1957-2007)" is to outline the development and highlight the peculiarities of visual aesthetics in the Lithuanian television. The position of the artist (costume designer, scenographer, make-up artist, dresser) as well as his/her contribution to the telecasts in the Lithuanian television have been analyzed in theoretical, historical and practical terms. The topic of the research covers the following: the analysis of of the visual aesthetics features in the Lithuanian television in a particular period; the analysis of specific aesthetics in different kinds of the telecasts; highlighting the peculiarities of the visual aesthetics based on the analysis of different segments of the telecasts. The Lithuanian television has always mirrored political, cultural and economical events of a particular period. This also applies to the visual aesthetics, the analysis of which is the main issue of the paper. In a 50-year development of the Lithuanian televisions' visual aesthetics, technical, technological and professional growth of the artists has become obvious. In the conclusion, the hypotheses provided in the paper are highlighted. In the first considered period the emphasis is on the professionalism and aesthetic whole of the telecasts. In the second period competativeness and commercialism, along with the growth of technological, technical and financial possibilities, start finding their way to the Lithuanian television. However, the demand for an aesthetic whole is on the decrease. Today many professionals-costume and make-up designers, decorators work in the Lithuanian television. Yet, there is not a single person who could consolidate their efforts and coordinate their action directed towards a common goal. In analysing the development of variable key segments of the Television aesthetics the importance of the artist and costume designer is of utmost importance. Fashion trends − trendy make-up, costume − had a relative impact on the Television aesthetics at all times. At present innovative technologies and development of facilities are in the focus of attention.The genre and stylistics of the telecasts are being levelled. As concerns the news' telecasts, they are steadily on the same track. By this paper an attempt has been made to attract more attention to the development of Lithuanian television's visual aesthetics as well as its current trends.

The aim of the master's degree thesis " The Development Outline of the Lithuanian television's visual aesthetics (1957-2007)" is to outline the development and highlight the peculiarities of visual aesthetics in the Lithuanian television. The position of the artist (costume designer, scenographer, make-up artist, dresser) as well as his/her contribution to the telecasts in the Lithuanian television have been analyzed in theoretical, historical and practical terms. The topic of the research covers the following: the analysis of of the visual aesthetics features in the Lithuanian television in a particular period; the analysis of specific aesthetics in different kinds of the telecasts; highlighting the peculiarities of the visual aesthetics based on the analysis of different segments of the telecasts. The Lithuanian television has always mirrored political, cultural and economical events of a particular period. This also applies to the visual aesthetics, the analysis of which is the main issue of the paper. In a 50-year development of the Lithuanian televisions' visual aesthetics, technical, technological and professional growth of the artists has become obvious. In the conclusion, the hypotheses provided in the paper are highlighted. In the first considered period the emphasis is on the professionalism and aesthetic whole of the telecasts. In the second period competativeness and commercialism, along with the growth of technological, technical and financial possibilities, start finding their way to the Lithuanian television. However, the demand for an aesthetic whole is on the decrease. Today many professionals-costume and make-up designers, decorators work in the Lithuanian television. Yet, there is not a single person who could consolidate their efforts and coordinate their action directed towards a common goal. In analysing the development of variable key segments of the Television aesthetics the importance of the artist and costume designer is of utmost importance. Fashion trends − trendy make-up, costume − had a relative impact on the Television aesthetics at all times. At present innovative technologies and development of facilities are in the focus of attention.The genre and stylistics of the telecasts are being levelled. As concerns the news' telecasts, they are steadily on the same track. By this paper an attempt has been made to attract more attention to the development of Lithuanian television's visual aesthetics as well as its current trends.

The aim of the master's degree thesis " The Development Outline of the Lithuanian television's visual aesthetics (1957-2007)" is to outline the development and highlight the peculiarities of visual aesthetics in the Lithuanian television. The position of the artist (costume designer, scenographer, make-up artist, dresser) as well as his/her contribution to the telecasts in the Lithuanian television have been analyzed in theoretical, historical and practical terms. The topic of the research covers the following: the analysis of of the visual aesthetics features in the Lithuanian television in a particular period; the analysis of specific aesthetics in different kinds of the telecasts; highlighting the peculiarities of the visual aesthetics based on the analysis of different segments of the telecasts. The Lithuanian television has always mirrored political, cultural and economical events of a particular period. This also applies to the visual aesthetics, the analysis of which is the main issue of the paper. In a 50-year development of the Lithuanian televisions' visual aesthetics, technical, technological and professional growth of the artists has become obvious. In the conclusion, the hypotheses provided in the paper are highlighted. In the first considered period the emphasis is on the professionalism and aesthetic whole of the telecasts. In the second period competativeness and commercialism, along with the growth of technological, technical and financial possibilities, start finding their way to the Lithuanian television. However, the demand for an aesthetic whole is on the decrease. Today many professionals-costume and make-up designers, decorators work in the Lithuanian television. Yet, there is not a single person who could consolidate their efforts and coordinate their action directed towards a common goal. In analysing the development of variable key segments of the Television aesthetics the importance of the artist and costume designer is of utmost importance. Fashion trends − trendy make-up, costume − had a relative impact on the Television aesthetics at all times. At present innovative technologies and development of facilities are in the focus of attention.The genre and stylistics of the telecasts are being levelled. As concerns the news' telecasts, they are steadily on the same track. By this paper an attempt has been made to attract more attention to the development of Lithuanian television's visual aesthetics as well as its current trends.

At the turn of the 20th century, three notions of the virtual can be distinguished in the humanitarian thought: technological, social, and performative. Application of G. Simondon's theoretical concepts of ontogenesis to E. Fischer-Lichte's concepts of mediality, aesthetics, and materiality of the performance – marks a conceptual theoretical shift from the performatively established unity of the aesthetical, political and social aspects of the performative as their temporal synthesis, towards the establishment of the procedurally acquired aesthetical, political and social performative reality as the dynamic relations of participation between vital and non-vital individuals performing on both sides of the screen. Contemporary processes of performance virtualization and the emergence of a perceived episteme of the perceiver's inclusion, required the revsision of the S.C. Peirce's semiotic definition of the virtual. Hence, it is complemented with the notion of mixed performative, which still depends on the perceiver's corporality, however, transcends the boundaries of "pure" physicality and can be interpreted as follows: A virtual X (where X is multiple, temporally related generic nouns) is something other than X (which has a different impact (virtus) upon X) and depends directly on the temporal involvement of a perceiver experiencing virtual X in the process of its semiosis. This formula of the virtual can also be considered as a definition of the virtual in contemporary performance art, which can be applied by "inserting" variables of the structural elements of performativity (cf. Fischer–Lichte) extended by the concepts of G. Simondon's philosophy in the instrumentation of the contemporary performative (taking into consideration that the definition of these elements varies in every even being performed, depending on its different strategies). Such a formula of the virtual – allows to assess the historical spectrum of performativity-virtuality connections and notions of the virtual when it manifests itself in ...

At the turn of the 20th century, three notions of the virtual can be distinguished in the humanitarian thought: technological, social, and performative. Application of G. Simondon's theoretical concepts of ontogenesis to E. Fischer-Lichte's concepts of mediality, aesthetics, and materiality of the performance – marks a conceptual theoretical shift from the performatively established unity of the aesthetical, political and social aspects of the performative as their temporal synthesis, towards the establishment of the procedurally acquired aesthetical, political and social performative reality as the dynamic relations of participation between vital and non-vital individuals performing on both sides of the screen. Contemporary processes of performance virtualization and the emergence of a perceived episteme of the perceiver's inclusion, required the revsision of the S.C. Peirce's semiotic definition of the virtual. Hence, it is complemented with the notion of mixed performative, which still depends on the perceiver's corporality, however, transcends the boundaries of "pure" physicality and can be interpreted as follows: A virtual X (where X is multiple, temporally related generic nouns) is something other than X (which has a different impact (virtus) upon X) and depends directly on the temporal involvement of a perceiver experiencing virtual X in the process of its semiosis. This formula of the virtual can also be considered as a definition of the virtual in contemporary performance art, which can be applied by "inserting" variables of the structural elements of performativity (cf. Fischer–Lichte) extended by the concepts of G. Simondon's philosophy in the instrumentation of the contemporary performative (taking into consideration that the definition of these elements varies in every even being performed, depending on its different strategies). Such a formula of the virtual – allows to assess the historical spectrum of performativity-virtuality connections and notions of the virtual when it manifests itself in (differently) live or mediated performances and establishes the virtual as an integral element of the performative. Virtuality in contemporary performance art is considered to be the virtual perceived on its ontological level.

At the turn of the 20th century, three notions of the virtual can be distinguished in the humanitarian thought: technological, social, and performative. Application of G. Simondon's theoretical concepts of ontogenesis to E. Fischer-Lichte's concepts of mediality, aesthetics, and materiality of the performance – marks a conceptual theoretical shift from the performatively established unity of the aesthetical, political and social aspects of the performative as their temporal synthesis, towards the establishment of the procedurally acquired aesthetical, political and social performative reality as the dynamic relations of participation between vital and non-vital individuals performing on both sides of the screen. Contemporary processes of performance virtualization and the emergence of a perceived episteme of the perceiver's inclusion, required the revsision of the S.C. Peirce's semiotic definition of the virtual. Hence, it is complemented with the notion of mixed performative, which still depends on the perceiver's corporality, however, transcends the boundaries of "pure" physicality and can be interpreted as follows: A virtual X (where X is multiple, temporally related generic nouns) is something other than X (which has a different impact (virtus) upon X) and depends directly on the temporal involvement of a perceiver experiencing virtual X in the process of its semiosis. This formula of the virtual can also be considered as a definition of the virtual in contemporary performance art, which can be applied by "inserting" variables of the structural elements of performativity (cf. Fischer–Lichte) extended by the concepts of G. Simondon's philosophy in the instrumentation of the contemporary performative (taking into consideration that the definition of these elements varies in every even being performed, depending on its different strategies). Such a formula of the virtual – allows to assess the historical spectrum of performativity-virtuality connections and notions of the virtual when it manifests itself in (differently) live or mediated performances and establishes the virtual as an integral element of the performative. Virtuality in contemporary performance art is considered to be the virtual perceived on its ontological level.