27 research outputs found
3DMADMAC|AUTOMATED: synergistic hardware and software solution for automated 3D digitization of cultural heritage objects
In this article a fully automated 3D shape measurement system and data processing algorithms are presented. Main purpose of this system is to automatically (without any user intervention) and rapidly (at least ten times faster than manual measurement) digitize whole objectâs surface with some limitations to its properties: maximum measurement volume is described as a cylinder with 2,8m height and 0,6m radius, maximum object's weight is 2 tons. Â Measurement head is automatically calibrated by the system for chosen working volume (from 120mm x 80mm x 60mm and ends up to 1,2m x 0,8m x 0,6m). Positioning of measurement head in relation to measured object is realized by computer-controlled manipulator. The system is equipped with two independent collision detection modules to prevent damaging measured object with moving sensorâs head. Measurement process is divided into three steps. First step is used for locating any part of objectâs surface in assumed measurement volume. Second step is related to calculation of "next best view" position of measurement head on the base of existing 3D scans. Finally small holes in measured 3D surface are detected and measured. All 3D data processing (filtering, ICP based fitting and final views integration) is performed automatically. Final 3D model is created on the base of user specified parameters like accuracy of surface representation and/or density of surface sampling. In the last section of the paper, exemplary measurement result of two objects: biscuit (from the collection of Museum Palace at WilanĂłw) and Roman votive altar (Lower Moesia, II-III AD) are presented
Super-heavy fermion material as metallic refrigerant for adiabatic demagnetization cooling
Low-temperature refrigeration is of crucial importance in fundamental
research of condensed matter physics, as the investigations of fascinating
quantum phenomena, such as superconductivity, superfluidity and quantum
criticality, often require refrigeration down to very low temperatures.
Currently, cryogenic refrigerators with He gas are widely used for cooling
below 1 Kelvin. However, usage of the gas is being increasingly difficult due
to the current world-wide shortage. Therefore, it is important to consider
alternative methods of refrigeration. Here, we show that a new type of
refrigerant, super-heavy electron metal, YbCoZn, can be used for
adiabatic demagnetization refrigeration, which does not require 3He gas. A
number of advantages includes much better metallic thermal conductivity
compared to the conventional insulating refrigerants. We also demonstrate that
the cooling performance is optimized in YbScCoZn by
partial Sc substitution with 0.19. The substitution induces chemical
pressure which drives the materials close to a zero-field quantum critical
point. This leads to an additional enhancement of the magnetocaloric effect in
low fields and low temperatures enabling final temperatures well below 100 mK.
Such performance has up to now been restricted to insulators. Since nearly a
century the same principle of using local magnetic moments has been applied for
adiabatic demagnetization cooling. This study opens new possibilities of using
itinerant magnetic moments for the cryogen-free refrigeration
KsiÄ ĆŒÄ i Ć»ebrak
This theater poster for The Prince and The Pauper shows a person looking into a mirror at their reflection.person looking into a mirror at their reflectio
Bal U Czarnoksieznika
This theater poster shows a man with cape made out of thin white lines and the letters that make the title.man with cape made out of lines and letter
MaterialnoĆÄ Ćwietlnego zapisu â o rzeczach w dorobku Jerzego LewczyĆskiego
The popularity of Jerzy LewczyĆski (1924-2014) coincided with the academic interest in the problem of archive, corresponding to LewczyĆskiâs program of the âarcheology of photography,â developed in the 1970s. LewczyĆskiâs idea consisted in restoring Kantorâs âreality of the lowest rank,â i.e. the rejected microhistories hidden in the anonymous and the forgotten or taken out of an ashtray at the Warsaw Central train station. Today, however, one tends to forget that LewczyĆskiâs gesture of artistic legitimization did not aim at giving new meanings, but above all at blurring the boundary between everyday items and those which emerged from some kind of âaesthetic situationâ (Maria GoĆaszewska). This aspect of his art can be seen, e. g, in his visual journal, where the artist included objects of particular importance â next to Xerox copies of his own works or works of other artists, he placed also shopping receipts. LewczyĆski equaled the value of cheap receipt paper with the noble velvety quality of bromine. He did not reduce his collected items to their aesthetic function, having rejected the institutionalized idea of the artifact as a work of art to enjoy by the audience. Anticipating the postulates of Bruno Latour, instead of showing objects appropriated by the power of the gaze, he presented actors: things that asked questions on their own
The Polish avant-garde photography. The analysis of the phenomenon and its status in the art history
Analiza sytuacji powojennej polskiej fotografii nieustannie bazowaĆa na etosie odzyskiwania kieĆkujÄ
cej niegdyĆ nowoczesnoĆci, ktĂłrej rozwĂłj brutalnie przerwaĆo niszczÄ
ce doĆwiadczenie wojny. Ăw motyw odbudowy nie zostaĆ dotÄ
d dostrzeĆŒony; okazaĆ siÄ on zaĆ wiÄ
zaÄ z ograniczajÄ
cym schematem i skutkowaÄ stagnacjÄ
w zakresie badaĆ nad produkcjÄ
fotograficznÄ
lat 20. i 30. XX w. Spojrzenie na fenomen miÄdzywojennej awangardy przez pryzmat rozwiÄ
zaĆ, ktĂłre po 1945 r. okazaĆy siÄ najsilniejszymi katalizatorami Ćrodowiskowego fermentu intelektualnego, skutkowaĆo jednowymiarowÄ
charakterystykÄ
tego krĂłtkiego okresu, ktĂłrego ramy wyznaczajÄ
rozejm w CompiĂšgne i kampania wrzeĆniowa 1939 r. FaworyzujÄ
ca malarstwo polska historia sztuki nie wydobyĆa tak ciekawych i dywersyfikujÄ
cych wizerunek polskiego dwudziestolecia â a uwzglÄdnionych w niniejszej rozprawie â zjawisk, jak fotonit. Nie podejmowano dotÄ
d analiz dorobku waĆŒnych dla fotograficznego milieu twĂłrcĂłw, faworyzujÄ
c sylwetki ĆmiaĆo operujÄ
cych tym medium plastykĂłw. ArtyĆci tacy jak Karol Hiller czy MieczysĆaw Szczuka uzyskali w oczach teoretykĂłw uznanie jako przeĆamujÄ
cy standardy obrazowania awangardziĆci. W narracjach tych nie uwypuklano jednak w sposĂłb satysfakcjonujÄ
cy faktu, ĆŒe twĂłrcy ci nie wystawiali na salonach fotograficznych ani nie publikowali na Ćamach specjalistycznej prasy branĆŒowej. PrzywoĆani artyĆci byli zaĆ gĆĂłwnie zainteresowani integrowaniem rĂłĆŒnych dziedzin sztuki, a ich dziaĆaniom nie przyĆwiecaĆa chÄÄ przeĆamywania piktorialnego jÄzyka obrazowania ani teĆŒ pragnienie wĆÄ
czenia siÄ w debatÄ nad przyszĆoĆciÄ
fotografii.
Rozprawa ujawnia funkcjonowanie pod osĆonÄ
â pozytywnie wartoĆciujÄ
cej â nazwy âfotografia awangardowaâ pewnego kanonu polskiej miÄdzywojennej produkcji artystycznej, ktĂłry nieustannie stanowi punkt odniesienia dla wspĂłĆczesnych badaĆ i strategii wystawienniczych. Obecne w polskiej literaturze naukowej kryteria âawangardowoĆciâ zostaĆy zaĆ wypracowane na podstawie odniesieĆ do takich âlegendâ jak Man Ray czy LĂĄszlĂł Moholy-Nagy. Fotografia awangardowa rozumiana byĆa zatem wedle wytycznych zaadaptowanych spoza naszego rodzimego kontekstu: jako utopijny projekt artystyczny, bÄdÄ
cy wytworem dyskursu oryginalnoĆci o reakcyjnym, wobec skostniaĆego piktorializmu, charakterze. Brzemienne w (dotkliwe) skutki pragnienie ĆÄ
cznoĆci z trendami fotografii Ćwiatowej, wynikaĆo z potrzeby nawiÄ
zania pewnego dialogu z Zachodem. W konsekwencji jednak pomijaliĆmy dzieĆa wymykajÄ
ce siÄ klarownym podziaĆom, nieprzystawalne do tak wyznaczonych ram. OperujÄ
c ĆciĆle okreĆlonym schematem rozumienia pojÄcia âawangardy fotograficznejâ, stosowaliĆmy w badaniach nad polskÄ
kulturÄ
wizualnÄ
wzorzec zaczerpniÄty z twĂłrczoĆci wyrosĆej w zupeĆnie innej sytuacji geo-politycznej i spoĆecznej. Metody wykorzystywane do analizy produkcji uformowanej w oĆrodkach uznawanych za âcentralneâ zostawaĆy bezpoĆrednio przeĆoĆŒone na polskie realia (âperyferieâ), co uniemoĆŒliwiaĆo dostrzeĆŒenie unikatowoĆci zjawisk w polskiej fotografii i stawiaĆo je w pozycji wtĂłrnych czy poĆlednich. Klucz ten spowodowaĆ wyparcie â byÄ moĆŒe nawet najciekawszych? â twĂłrcĂłw, ktĂłrych prace kruszÄ
utarte kalki pojÄciowe. Na gruncie polskiej historii fotografii mamy do czynienia ze sposobem prowadzenia narracji opartym o silnÄ
polaryzacjÄ dwĂłch, radykalnie rĂłĆŒnych obozĂłw: nadal podkreĆlamy wyraĆșny rozdĆșwiÄk miÄdzy piktorialnÄ
, BuĆhakowskÄ
fotografikÄ
a ĆmiaĆÄ
, radykalnÄ
awangardÄ
. WciÄ
ĆŒ poddajemy siÄ zatem wzorcowi pojmowania sztuki, ktĂłry opiera siÄ o linearnÄ
kategoriÄ rozwoju. Jednym z zasadniczych celĂłw rozprawy jest rewizja takiej â niegdyĆ popularnej â systematyzacji zjawisk, ktĂłrÄ
dziĆ uznaÄ naleĆŒy juĆŒ za niewystarczajÄ
cÄ
. Podstawowym zadaniem niniejszej rozprawy jest zatem prĂłba krytycznego odczytania dotychczasowego zarysu granic polskiej fotografii awangardowej, jak i wydobycie dotÄ
d zapomnianych zjawisk miÄdzywojnia.The dissertation is devoted to the problem of defining the term âavant-gardeâ in the context of the Polish photography. While dealing with the scientific discourse about the history of the Polish photography, we are still confronting a narrative based on the strong polarisation of the two radically different artistic strategies: the avant-garde innovators and the old-style pictorialists. In consequence, we are incessantly moving between the two sides of the conflict: we emphasise the discrepancy between the pictorialist photography (created in the milieu of Jan BuĆhak) and the daring, radical avant-garde. The reluctance to reject such a way of writing about photography from the 1920s and 1930s is caused by a certain model of defining avant-garde art, which is based on a linear category of development. In this dissertation, this very simplified system of understanding of the avant-garde is called into question. The analysed case studies prove that the boundaries between what is âconservativeâ, and what is âmodernâ, are not easy to determine. One of the fundamental aims of the dissertation is to revise such â once-popular â systematisation of the avant-garde phenomenon, which today should be considered as insufficient. The main purpose of this dissertation is, therefore, an attempt to critically read the current outline of the borders of the Polish avant-garde photography, as well as to excavate the (so far) forgotten artistic strategies of the photographers of the inter-war period. This dissertation reveals that under the term âthe Polish avant-garde photographyâ, which is constantly present in different publications on the Polish visual culture, there is hidden a very narrow selection of the Polish inter-war (1920sâ1930s) artistic production, which is constantly a reference point for the contemporary research or exhibition strategies. Moreover, the criteria of the âavant-gardeâ, present in the Polish scientific literature, have been elaborated on the basis of references to the discourse of Western art history and links to such âlegendaryâ artists as Man Ray or LĂĄszlĂł Moholy-Nagy. Thus, âavant-garde photographyâ was understood according to the guidelines adapted from outside to the Polish native context: as a utopian artistic project, which is a product of the discourse of originality.
The Polish scienceâs desire to accede to the trends visible in the foreign milieus resulted in the need to establish a dialogue with the West, which would break the âiron curtainâ, separating the Polish art history from the mainstream historical narrative. This model of writing about the Polish photography gave us the conviction that Polish standards were equal to those visible in other countries. As a result, however, we passed over and forgot about the works that eluded the clear divisions, which were incompatible with such a designated framework. By operating a strictly defined concept of understanding of the âavant-garde photographyâ, we used a pattern suitable for artistic production which was arisen in a completely different geopolitical and social situation. There is the well-established and (relatively narrow) spectrum of names of the Polish artists who met such criteria of the âavant-gardeâ, which were âestablishedâ in the âepicentres of modernityâ (such as Berlin, Dessau, or Paris). This way of thinking about the history of art caused that some artists (perhaps even the most interesting ones?), who did not fit this very specific pattern, were disregarded. Therefore, in the dissertation the forgotten and less-known works by Marian Dederko (1880â1965) are shown from a new perspective. On one hand, I underline that some reminiscences of the Cubism, and characteristic of the Futurism aesthetics are visible in Dederkoâs strategy. However, at the same time, I am reconstructing his theory of the photographic image, which is far from the typical avant-garde radicalism. Moreover, many of his works are strongly rooted in the symbolic idiom
Od konkretu rzeczywistoĆci do pogranicza realnoĆci â refleksja wokĂłĆ wczesnych prac Stefana Wojneckiego
The main aim of this study is to analyse selected photographs created by Stefan Wojnecki in the 1950s. Chosen materials diversify and enrich the widely accepted image of the artist, who is known primarily for his later conceptual realizations. The essay attempts to characterize those photographs, in which the crucial subject is human individual and his existential situation. The basis of the work is primarily the material collected during the interview with the artist himself
custodial sentence enforcement under therapeutic system
Ustawodawca w 1997 r wraz z nowym Kodeksem karnym wykonawczym wprowadzil trzy systemy wykonywania kary pozbawienia wolnosci: System zwykly, system programowego oddzialowywania oraz system terapeutycznym. Przedmiotem pracy jest szczegolowa analiza systemu terapeutycznego oraz grup skazanych zakwalifikowanych do niego. Kodeks karny wykonawczy szczegolowo artykuluje skazanych mogacych odbywac kare pozbawienia wolnosci w systemie terapeutycznym, sa to skazani z niepsychotycznymi zaburzeniami psychicznymi, w tym skazani za przestepstwo okreslone w art. 197-203 Kodeksu karnego polelnione w zwiazku z zaburzeniami preferencji seksualnych, uposledzeni umyslowo, a takze uzaleznieni od alkoholu albo innych srodkow odurzajacych lub psychotropowych oraz skazani niepelnosprawni fizycznie- wymagajacy oddzialywania specjalistycznego. Praca zawiera szczegolowy opis wyzej wynienionej grupy skazanych oraz tryb postepowania z nimi. Poruszone zostaly rozniez niektore problemy wynikajace z dostosowania zakladow karnych do potrzeb skazanych odbywajacych kare pozbawienia wolnosci w systemia terapuetycznym.In 1997, with the new Penal Code, the lawmakers introduced three different deprivation of liberty systems: regular, programmed rehabilitation, and therapeutic. The aim of this work is to thoroughly analyse both the therapeutic penalty system and the convict groups qualified to participate in it. The Penal Code provides a clear definition of convicts that might participate in the therapeutic rehabilitation programmes as convicts with non-psychotic mental distress (including those sentenced under art.197-203 of the Criminal Code, i.e. paraphiliacs, mentally and physically disabled, substance-dependent; and requiring specialist care). The author aims to describe the aforementioned groups of convicts and the usual rehabilitation procedures. The work also touches upon certain problems resulting from adapting the penal institutions to specific needs of convicts under the therapeutic rehabilitation programmes