Burial and thermal history modelling of the Upper Carboniferous strata based on vitrinite refl ectance data from Bzie-Dębina-60 borehole (Upper Silesian Coal Basin, southern Poland)

Integrated modeling of the coal rank in the Upper Carboniferous sediments of the BzieDębina-60 borehole from SW of the Upper Silesian Coal Basin was performed based on a new vitrinite reflectance measurements from the Westphalian A. Microscopic investigations of Westphalian samples in the Bzie-Debina-60 well have shown that organic matter is dominated by vitrinite maceral group. The coal rank in the well shows an increase with depth. The mean vitrinite reflectance values in these samples range from 0.76 to 1.07 %. One-dimensional forward modelling of thermal maturity in the Bzie-Dębina-60 borehole section has been performed in order to explain the burial and thermal history. The maximum temperature (c. 145 °C) causing the coalification occurred in the Latest Carboniferous (c. 300 Ma). These processes were likely related to signifi cant late Variscan burial heating in this area as indicated by previous authors

Understanding New Trends on Gold Mineralization at the Yellowknife City Gold Project, Northwest Territories, using Synchrotron X-ray Spectroscopy

The Yellowknife City Gold Project (YCGP) currently encompasses 780 sq. km of contiguous land north, south and east of the city of Yellowknife. The project lies in the prolific Archean north-south trending Yellowknife Greenstone Belt, a suite of mafic and felsic volcanics and greywacke turbidites overlying a gneissic basement. Exploration and drilling efforts have been focused along 70 km of strike length on the southern and northern extensions of the mineralized shear zones and quartz veins associated with the past-producing high-grade Con (6.1 Moz @ 16.1 g/t Au) and Giant (8.1 Moz @ 16.0 g/t Au) gold mines. Synchrotron X-ray diffraction of 71 powdered samples, and X-ray fluorescence maps of 73 slabs and half cores reveal similarities in mineralization styles between the Northbelt Property and the Con-Giant Mines, such as presence of pyrite-arsenopyrite, sphalerite-galena, sericite, chlorite, and quartz-carbonate, hinting that both locations are derived from a single mineralizing system. Our results suggest the timing of mineralization is similar throughout the Yellowknife City Gold Project, with pyrite-arsenopyrite, and sphalerite-galena forming first, followed by sericite-chlorite, and quartz-carbonate veining proliferating last. Three main gold associations are present across the YCGP – gold+sulphide, gold+quartz-carbonate, and gold+sericite-chlorite with the two latter probably due to later remobilization during syn-mineralization metamorphic processes. XANES analyses of select samples with viable Au signals revealed the presence of only metallic Au within sulphides and quartz veins. No refractory gold associated with elevated arsenic levels has been observed, suggesting gold may be easier to recover than previously thought

Thermal history of the lower Carboniferous Culm Basin in the Nizky Jesenik Mts. (NE Bohemian Massif, Czech Republic and Poland)

Raman microspectroscopy of organic matter, vitrinite reflectance and fluid inclusion data were used to reconstruct the thermal history in the lower Carboniferous accretionary prism of the Culm Basin in the Nízký Jeseník Mts. (NE Bohemian Massif). The model involves the Variscan (mid–late Carboniferous) burial diagenesis, which was overprinted by a post-Variscan, probably Permian and/or early Mesozoic, thermal pulse(s) in its central and western parts. The latter may have been related to advective heat transport and the circulation of hot fluids. In the siliciclastic rocks of the Culm Basin, the maximum palaeotemperatures varied from ~200 ± 30 °C in the E (in the Hradec-Kyjovice Formation) to ~350 ± 30 °C in the NW (in the Andìlská Hora Formation)

Dotknięcie węgla I – III : akwarele na papierze, 2019

Przewodnik zaprowadził mnie na kompletne odludzie. W surowym, kamienistym pejzażu, na lekkim wzniesieniu zobaczyłem biedaszyb. Był inny od tych, które widziałem wcześniej. Prawdziwy majstersztyk konstrukcji drewnianej, efekt pracy fachowców. Nowiutkie stemple zrobione jak na zamówienie. A wszystko, czyli cała konstrukcja, miało charakter regularności, z dbałością o jakość drewna i starannością wykonania każdego jej detalu...(Fragment tekstu)

Comparison of Selected Development Platforms in Terms of their Performance in Graphical Applications

Import 22/07/2015Cílem této bakalářské práce je vybrat vhodnou metodiku měření času pro kritickou část kódu užívanou v grafických aplikacích. Dále také je zapotřebí vybrat vhodný algoritmus a demonstrovat na něm jednotlivé optimalizační prostředky ať už SSE instrukce či OpenMP direktivy a TBB knihovnu pro paralelizaci kódu. Součástí této práce je i sada doporučení včetně rad a názorných ukázek pro optimalizaci kódu s využitím performance monitor counters a jazyka symbolických adres.The aim of this work is to select an appropriate methodology for measuring the time for a critical section of code, used in graphics applications. We also need to select the appropriate algorithm and demonstrate it to the individual optimization techniques such as SSE instructions or OpenMP directives and TBB libraries to parallelize code. Part of this work is a set of recommendations including advice and demonstrations for code optimization using performance monitor counters and assembly language.460 - Katedra informatikydobř

Akwarela na papierze, 2019: "Dotknięcie węgla I", "Dotknięcie węgla II", "Dotknięcie węgla III"

"Przewodnik zaprowadził mnie na kompletne odludzie. W surowym, kamienistym pejzażu, na lekkim wzniesieniu zobaczyłem biedaszyb. Był inny od tych, które widziałem wcześniej. Prawdziwy majstersztyk konstrukcji drewnianej, efekt pracy fachowców. Nowiutkie stemple zrobione jak na zamówienie. A wszystko, czyli cała konstrukcja, miało charakter regularności, z dbałością o jakość drewna i starannością wykonania każdego jej detalu... Moją uwagę przykuł zamknięty na kłódkę, mały wózek do wyciągania węgla po pochylni. Przypominał mi mój własny z dzieciństwa." [...] (fragm.

Do czego potrzebna jest dziś sztuka?

There exists a need to find a solution to the stability of a cultural identity and its record in the face of a dynamic nature of reality changes. An art building mythologies can play an important part here, but it must fulfill certain conditions. The importance of art results among others from the fact that it uses signs and is able to revalue or verify this very system. It can also include certain realities into a meaningful system, and, thereby, form new points of view and perspectives, narrations and mythologies. The considerations presented in the article referred to the 2012 Berlin Art Biennale. Today’s world, and globalization processes taking place therein, cause the pressure of the problem of subjectivity. A reflective nature of art can be an undesired burden when creating a consumer society. What is vital for artists is a deepened awareness of time in which one lives and mechanisms he/ she is governed by. The very issue is complex because our reality is not homogeneous. Art means different things in different environments. An art recording today’s world, showing unknown spaces or even those marginal and excluded one is necessary for building a culture continuity. What is necessary is also the one that contributes to the cultural continuation and touches upon developmental issues here, as well as creates and records their narrations or even mythologies. It is vital that we refer to common values here. The 2012 Berlin Art Biennale showed very strong tendencies in order to make art a forum for changes of our current reality. What was proposed is a model in which an art should not fabricate a work of art, but make open situations with unknown conclusions possible. It is a misleading situation because it lacks fixed elements guaranteed by an artistic object irrespective of its surrounding. These experiences are referred to the postindustrial area suffering from a deep sociological and cultural transformation. Dynamism and lack of stability characterizing it rather imply the need to search for stable points rather than call for transformations. Transferring experiences of Biennale in an uncritical way here would be nonsensical. If an art is to be treated as a reason for a common good, it should derive from the area or place where it is created. Native values have been appreciated in Poland and references to national myths were made. A current situation gives the floor to the myths forgotten a long time ago, such as a myth of the Galicia or the area of the former Austrian-Hungarian monarchy, as well as a cultural myth of Central Europe. Building mythology can be a cure for deconstruction. The answer to a total change of identity can be its protection by means of deposing information building mythology in a materialized artistic object. The myth constitutes a primary form of explaining things and the world at the level of the feeling. The idea of building mythology is based on several assumptions. The first one is the need of stability, the second the need of defining values to which art being currently made could refer to, and, the third one the need of formulating the meanings and associations of things again. An industrial mythology is absent or very slightly noticeable in the Polish culture. Thus, it is worth investigating it, taking into account the fact that the era it concerns goes into the past for ever. There are the first symptoms of dealing with this problem in art. The change, the organisers of the Berlin Biennale call for can take place after the elements of a cultural identity and subjectivity are protected by means of being saved. They can be a value added to the general output

Standardy to nie wszystko

The text was written from the point of view of an active creator in a post‑ industrial area. The author claims that the care for the cultural identity should be the function of art in the context of the changing reality and globalization. The standards of conduct preferring the changeability and the technologies of recording becoming out‑ dated generate the dangers leading to the loss of the continuity of culture. The introduction of new standards in art should include relation (even negative) to the cultural heritage of a certain place. A model of new layers, not changes is preferred. A change is a threat to the continuity of culture

One-dimensional modeling of gas generation processes in Carboniferous sediments from the deep part of Polish Rotliegend basin

One-dimensional numerical modeling of hydrocarbon generation in profiles of Carboniferous source rocks was performed. These source rocks were located in the substratum of select areas in the central deep Rotligend Basin (Objezierze IG-1, Piła IG-1, Byczyna-1, Brześć Kujawski IG-1, Budziszewice IG-1 and Kutno-1). Carboniferous sediments of the central deep basin with a mean random vitrinite reflectance of 1.0-2.7%, generated significant amounts of methane, with low nitrogen content. Gas generation processes occurred mostly during the Mesozoic era particularly between Early Triassic to Late Jurassic periods and achieved kerogen transformation ratio (TR) values of 77-100%

Co zrobić z innością Michaela Willmanna?

Let us not wait till we are offered something we can make use of. Rather, let us ponder what is it that we are able to call our achievements. This simple and universal thought is reflected in culture. We can endow others with what they lack. This completely different quality that we reach for, can turn into our inspiration, or part of our cultural identity. Globalization makes us seek for otherness that can later transmute into identity badges, or to put it otherwise, components of cultural identity. The achievements of the Baroque painter Michael Willmann can be interpreted within the frames of otherness. His otherness becomes conspicuous when we become aware that it was determined culturally and spiritually – aligned with mysticism in Silesia, where he was active. Some of his pieces of art depict places labeled as postindustrial areas. Can his pieces of art, shaped in such conditions, be regarded as part of cultural identity? This question emerged over the years of the author’s research, and its outcome, which is a broad research project published by Wrocław University. There Willmann appears to have been considered one of the most renowned art phenomena of the time in Central Europe. However, a certain disparity is depicted in this opinion and the presence of this artist in minds of his contemporaries, especially on postindustrial lands. Former studies in Polish art refer to their characteristics which cannot contain his art. The otherness of Willmann – when transmixed – can be included in general oeuvre. In the frames of postindustrial lands, it can certainly enrich its cultural image by introducing quality of highest order into the landscape often associated with porous and rough industrial forms as well as with nonprofessional culture. Undoubtedly, his achievements can be viewed as worth and enriching. Furthermore, by its transformations in modern art Willmann’s oeuvre can introduce qualities of different order that lay behind. This was done by artists from Krakow; however, the issue of building cultural identity while remaining open to this element is still valid