Discrete/finite element modelling of rock cutting with a TBM disc cutter

The final publication is available at Springer via http://dx.doi.org/10.1007/s00603-016-1133-7This paper presents advanced computer simulation of rock cutting process typical for excavation works in civil engineering. Theoretical formulation of the hybrid discrete/finite element model has been presented. The discrete and finite element methods have been used in different subdomains of a rock sample according to expected material behaviour, the part which is fractured and damaged during cutting is discretized with the discrete elements while the other part is treated as a continuous body and it is modelled using the finite element method. In this way, an optimum model is created, enabling a proper representation of the physical phenomena during cutting and efficient numerical computation. The model has been applied to simulation of the laboratory test of rock cutting with a single TBM (tunnel boring machine) disc cutter. The micromechanical parameters have been determined using the dimensionless relationships between micro- and macroscopic parameters. A number of numerical simulations of the LCM test in the unrelieved and relieved cutting modes have been performed. Numerical results have been compared with available data from in-situ measurements in a real TBM as well as with the theoretical predictions showing quite a good agreement. The numerical model has provided a new insight into the cutting mechanism enabling us to investigate the stress and pressure distribution at the tool–rock interaction. Sensitivity analysis of rock cutting performed for different parameters including disc geometry, cutting velocity, disc penetration and spacing has shown that the presented numerical model is a suitable tool for the design and optimization of rock cutting process.Peer ReviewedPostprint (published version

Zjedz lub zostań zjedzony. Miasto Macunaímy

Macunaíma, the trickster-hero from old Amerindian legends, was in the 1960s an icon of the Brazilian Cinema Novo – a new wave film movement that was a response by artists to class and racial disparities. Joaquim Pedro de Andrade, the director of Macunaíma (1969), moves the eponymous hero out of his jungle and puts him into the modern, mechanized and restless big city. Not only are social problems strongly emphasized in the film – equally important is here the aspect of myth itself. Macunaíma enters the new world as a real old-time god who sees the city as his opponent. During his battle – full of trickery and plotting – it emerges that the difference between the Amazonian jungle and the concrete jungle are barely visible.Eat or Be Eaten. The City of MacunaímaMacunaíma, the trickster-hero from old Amerindian legends, was in the 1960s an icon of the Brazilian Cinema Novo – a new wave film movement that was a response by artists to class and racial disparities. Joaquim Pedro de Andrade, the director of Macunaíma (1969), moves the eponymous hero out of his jungle and puts him into the modern, mechanized and restless big city. Not only are social problems strongly emphasized in the film – equally important is here the aspect of myth itself. Macunaíma enters the new world as a real old-time god who sees the city as his opponent. During his battle – full of trickery and plotting – it emerges that the difference between the Amazonian jungle and the concrete jungle are barely visible

„Przemalujemy wszystko”. Opowiadanie kolorem we Fragmentach Agnieszki Woszczyńskiej

“We’ll repaint it all”. The use of color as a storytelling device in Agnieszka Woszczyńska’s FragmentsIn her short Fragments Agnieszka Woszczyńska applies film color as a storytelling device. Oscillating between the natural and expressionistic use of color, she builds not only a characters outer world but also an image of the characters unspoken motivations. The article contains a profound color analysis of Fragments that covers such issues as the functioning of ocularcentrism as a film leitmotiv and the appearance of the focalizer in film narration.“We’ll repaint it all”. The use of color as a storytelling device in Agnieszka Woszczyńska’s FragmentsIn her short Fragments Agnieszka Woszczyńska applies film color as a storytelling device. Oscillating between the natural and expressionistic use of color, she builds not only a characters outer world but also an image of the characters unspoken motivations. The article contains a profound color analysis of Fragments that covers such issues as the functioning of ocularcentrism as a film leitmotiv and the appearance of the focalizer in film narration

Penelope and Her Cinematic Incarnations

Penelope and Her Cinematic IncarnationsBy analysing contemporary cinematic incarnations of Penelope, the wife of Odysseus, the author shows a thematic relation between cinema and ancient mythologies. Although an interest in mythical motifs is visible in film from its very beginnings, their popularity has constantly changed due to e.g., technological developments in filmmakers’ capabilities. However, what never changes is the presence of mythical plots in deeper story structures, which include the recreation of ancient characters. Examining Penelope’s spirit in today’s culture proves that the mythical story in which she appears provides excellent material for building new things – it easily adapts to modern times, constantly inspires artists, and stimulates various reflections about our cultural heritage.Penelope and Her Cinematic IncarnationsBy analysing contemporary cinematic incarnations of Penelope, the wife of Odysseus, the author shows a thematic relation between cinema and ancient mythologies. Although an interest in mythical motifs is visible in film from its very beginnings, their popularity has constantly changed due to e.g., technological developments in filmmakers’ capabilities. However, what never changes is the presence of mythical plots in deeper story structures, which include the recreation of ancient characters. Examining Penelope’s spirit in today’s culture proves that the mythical story in which she appears provides excellent material for building new things – it easily adapts to modern times, constantly inspires artists, and stimulates various reflections about our cultural heritage

The Overworked Cinema

The Overworked Cinema In her polemical article, the author argues with the thesis of Jakub Majmurek, who expects Polish cinema to tackle with the image of the Catholic church. It is being proven that such doctrinal disputes should never be the main purpose of filmmaking. The cinema, as free art, cannot be narrowed to ideological battlefield. In her polemical article, the author argues with the thesis of Jakub Majmurek, who expects Polish cinema to tackle with the image of the Catholic church. It is being proven that such doctrinal disputes should never be the main purpose of filmmaking. The cinema, as free art, cannot be narrowed to ideological battlefield

Między nieklasyczną narracją i klasyczną dramaturgią. "Taki pejzaż" Jagody Szelc

Between Classical Narration and Non-classical Dramaturgy. Jagoda Szelc’s Such a Landscape An abandonment of classical narration and a search for unconventional dramaturgical techniques are increasingly observed in the works of students from the Łódź Film School. One such short fi lm illustrating this tendency is Such a Landscape, directed by Jagoda Szelc. To create her individual and original piece, the director employs three traditional dramatic structures – that of an episodic fi lm, a Greek tragedy, and one connected with using the symbol as a tension-building tool. Jagoda Szelc proves that being sceptical about classical narration does not have to indicate a rejection of the whole tradition of storytelling. Instead, she chooses to use it as a fabric.Between Classical Narration and Non-classical Dramaturgy. Jagoda Szelc’s Such a Landscape An abandonment of classical narration and a search for unconventional dramaturgical techniques are increasingly observed in the works of students from the Łódź Film School. One such short fi lm illustrating this tendency is Such a Landscape, directed by Jagoda Szelc. To create her individual and original piece, the director employs three traditional dramatic structures – that of an episodic fi lm, a Greek tragedy, and one connected with using the symbol as a tension-building tool. Jagoda Szelc proves that being sceptical about classical narration does not have to indicate a rejection of the whole tradition of storytelling. Instead, she chooses to use it as a fabric