Wyniki wyszukiwania - Biblioteka Nauki

1

Zastosowanie modelu CIE Lab w badaniach barwy lotnych popiołów

100%

Molenda J. , Wrona M. , Siwiec E.

Problemy Eksploatacji

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2012

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tom nr 3

177-187

PL

W artykule przedstawiono wyniki pomiarów kolorymetrycznych próbek lotnych popiołów powstających podczas spalania węgla w kotłach energetyki zawodowej. Pomiary kolorymetryczne zrealizowano za pomocą spektrofotometru UV-Vis wyposażonego w sferę integrującą do rejestracji promieniowania rozproszonego. Następnie na podstawie modelu CIE Lab dokonano obliczeń parametrów L, a, b opisujących jasność próbek oraz barwy chromatyczne. Stwierdzono liniową zależność pomiędzy jasnością a zawartością niewypalonego węgla w badanych próbkach, a tym samym potwierdzono możliwość oceny zawartości węgla w lotnych popiołach na podstawie badań kolorymetrycznych. Na wynik pomiaru w nieznaczny sposób wpływa obecność w próbce substancji o zabarwieniu czerwonym, opisywanym parametrem a w modelu CIE Lab.

EN

The article presents the results of colorimetric measurements of samples of fly ash, originating during coal combustion in professional power boilers. Colorimetric measurements were realised using a UV-Vis spectrophotometer, equipped with an integrating sphere for the scattered radiation registration. Then, based on the CIE Lab model, the calculations of the L, a, b parameters describing the brightness of samples and chromatic colours were performed. A linear correlation was found between brightness and unburned coal content in research samples, which confirmed the possibility of the assessment of coal content in fly ash, based on colorimetric research. Measurement results are slightly influenced by the presence in the sample of a substance of a red colour, described by a parameter in the Lab model.

2

Changes of lightness (delta L*) of black walnut (Juglans nigra L.) under the influence of water and buffers of pH= 2–10

100%

Stachowiak-Wencek A. , Zborowska M. , Waliszewska B. , Pradzynski W. , Biernat H.

Annals of Warsaw University of Life Sciences - SGGW. Forestry and Wood Technology

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2015

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tom 92

3

Sopra-vivere nell’inferno: una eredità calviniana

100%

Redaelli S.

Italica Wratislaviensia

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2016

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nr 7

163-176

EN

The present study aims to highlight two survival strategies in the “inferno of the living” that emerge from the analysis of Invisible Cities: lightness and gaze. The value of lightness is visible in the “thin cities”, which share a fragile architecture, the contrary reaction opposing the heaviness of living, the distance from the ground. “The hidden cities”, in turn, provide the motive for a reflection (a lecture) on gaze, with the aim of training the gaze to “recognize that which is not hell”: the happy city inside the unhappy city. In Invisible Cities, Calvino’s gaze still has an ethical and civic function (present in The Day of a Scrutineer). This function, however, will give way to the epistemic and scientific function of Mr. Palomar (from The Cosmicomics onwards), whose eye is exclusively concerned with measuring the limits of knowledge, which never extends, in a revealing way, from the natural world to the human world. Thirty years after Calvino’s death, amongst the many legacies left by his multifaceted literary work, we can recover the ethical and civic dimension expressed by the values of lightness and gaze.

IT

Il presente studio vuole mettere in evidenza due strategie di sopravvivenza nell’“inferno dei viventi” che emergono dall’analisi de Le città invisibili: la leggerezza e lo sguardo. Il valore della leggerezza trova visibilità nelle “città sottili”, accomunate da un’architettura esile, dalla reazione contraria e opposta al peso del vivere, dalla distanza dalla terra. “Le città nascoste”, a loro volta, offrono lo spunto per una riflessione (lezione) sullo sguardo, al fine di educarlo a “riconoscere ciò che inferno non è”: la città felice contenuta nella città infelice. Ne Le città invisibili, lo sguardo di Calvino è ancora portatore di una funzione etico-civile (presente ne La giornata di uno scrutatore), che lascerà il posto (dalle Cosmicomiche in poi) a quella scientifico-epistemica di Palomar, il cui occhio è intento esclusivamente a misurare il limiti della conoscenza, che non si estende mai, in modo rivelatore, dal mondo naturale a quello umano. A trent’anni dalla morte di Calvino, tra le numerose eredità che la sua poliedrica opera letteraria ci lascia, possiamo recuperare una dimensione etico-civile, espressa dai valori della leggerezza e dello sguardo.

4

Metacontrast masking and the cortical representation of surface color: dynamical aspects of edge integration and contrast gain control

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Rudd M.

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2007

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tom 3

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nr 1-2

327-347

EN

This paper reviews recent theoretical and experimental work supporting the idea that brightness is computed in a series of neural stages involving edge integration and contrast gain control. It is proposed here that metacontrast and paracontrast masking occur as byproducts of the dynamical properties of these neural mechanisms. The brightness computation model assumes, more specifically, that early visual neurons in the retina, and cortical areas V1 and V2, encode local edge signals whose magnitudes are proportional to the logarithms of the luminance ratios at luminance edges within the retinal image. These local edge signals give rise to secondary neural lightness and darkness spatial induction signals, which are summed at a later stage of cortical processing to produce a neural representation of surface color, or achromatic color, in the case of the chromatically neutral stimuli considered here. Prior to the spatial summation of these edge-based induction signals, the weights assigned to local edge contrast are adjusted by cortical gain mechanisms involving both lateral interactions between neural edge detectors and top-down attentional control. We have previously constructed and computer-simulated a neural model of achromatic color perception based on these principles and have shown that our model gives a good quantitative account of the results of several brightness matching experiments. Adding to this model the realistic dynamical assumptions that 1) the neurons that encode local contrast exhibit transient firing rate enhancement at the onset of an edge, and 2) that the effects of contrast gain control take time to spread between edges, results in a dynamic model of brightness computation that predicts the existence Broca-Sulzer transient brightness enhancement of the target, Type Bmetacontrast masking, and a form of paracontrast masking in which the target brightness is enhanced when the mask precedes the target in time.

5

Lekkie i ognioodporne

100%

W.O.

Biuletyn Informacyjny Ośrodka Badawczo-Rozwojowego Przemysłu Płyt Drewnopochodnych w Czarnej Wodzie

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2014

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tom 55

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nr 1-2

6

Przezroczysta lekkość bytu – od Calvina do Bieńczyka

85%

Błaszczak M.

Przestrzenie Teorii

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2016

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nr 25

170-210

EN

Transparency is one of physical esthetic categories that are used to describe literature and other arts. The main aim of this paper is to show how those esthetic categories are used on three levels: esthetic, performatively dramatic and philosophical in modern literature, theater, film and fine arts. The starting point for those considerations are methods of Italo Calvino (“American lectures”) and Marek Bieńczyk (his collection of essays titled “Transparency”) . Calvino’s category of “transparency” (in his attempt to go beyond anthropocentric cognition with the author’s main question: “Is imagination an instrument of cognition?”) is contrasted with Marek Bieńczyk’s term of “transparency”, who has pointed out the positive aspects of paintings (which are not only giving a feeling of emptiness but also provide certainty of clarity and obviousness). In addition to these categories, lucidity and glassiness are featured and a crystal structure is summoned in the context of mistiness as its opposition.

PL

Transparency is one of physical esthetic categories that are used to describe literature and other arts. The main aim of this paper is to show how those esthetic categories are used on three levels: esthetic, performatively dramatic and philosophical in modern literature, theater, film and fine arts. The starting point for those considerations are methods of Italo Calvino (“American lectures”) and Marek Bieńczyk (his collection of essays titled “Transparency”) . Calvino’s category of “transparency” (in his attempt to go beyond anthropocentric cognition with the author’s main question: “Is imagination an instrument of cognition?”) is contrasted with Marek Bieńczyk’s term of “transparency”, who has pointed out the positive aspects of paintings (which are not only giving a feeling of emptiness but also provide certainty of clarity and obviousness). In addition to these categories, lucidity and glassiness are featured and a crystal structure is summoned in the context of mistiness as its opposition.

7

Lekkie plyty wiorowe

80%

Borysiuk P.

Biuletyn Informacyjny Ośrodka Badawczo-Rozwojowego Przemysłu Płyt Drewnopochodnych w Czarnej Wodzie

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2005

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tom 45

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nr 1-2

116-117

8

Pozorna lekkość bytu - estetyzacja w fotografii dokumentalnej

80%

ZARYCHTA A. M.

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2016

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tom 18

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nr 27

317-331

EN

The simulacre lightness of being – aestheticization in documentary photography The starting point for analyzing aestheticization processes in contemporary documentary photography in this text are both the “poetic” images of lightness in literature and culture analyzed in a lecture by Italo Calvino (Six Memos for the Next Millennium) and the critical thought of Wolfgang Welsch on intentional aestheticization processes in the real world. According to Welsch, these processes, through specific procedures of “lavishing lightness”, cease to be a binding image of the world and become part of a culture game (Grenzgange der Asthetik). Examples selected for analysis include award-winning documentary photography, including war photography, represented by the work of Georges Merillon, Sebastiao Salgado, Luc Delahaye, Simon Norfolk and Tim Hetherington. These ‘aestheticization procedures’ are outlined in this text in the context of the history of photography perceived as its “struggle” for a place in the history of art, as well as in the context of the theoretical considerations which accompany these processes.

9

Lekkie znaczy lepsze?

80%

Czechowska J. , Borysiuk P. , Maminski M.

Biuletyn Informacyjny Ośrodka Badawczo-Rozwojowego Przemysłu Płyt Drewnopochodnych w Czarnej Wodzie

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2008

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tom 48

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nr 1-2

56-66

10

ФІЛОСОФСЬКІ ЗАСАДИ РИТМІКИ ЕМІЛЯ ЖАК-ДАЛЬКРОЗА

80%

Ключко В.

Педагогічні науки: теорія, історія, інноваційні технології

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2015

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nr 9(53)

252-259

EN

The article reveals the philosophical foundations of the system of rhythmic education of Emile Jacques-Dalcroze, in its context the universal philosophical categories of "movement", "time" and "space" as fine motor skills, temporality and spatiality are concretized. The fundamental philosophical concept of rhythmic, which is a category of corporality that defines the sensual nature of human existence, is defined. The origins of rhythmic in ancient philosophical thought, in particular in the works of Plato, who outlined the epistemological and hedonic potential of human movement, through which he/she perceives the rhythm and harmony of the universe are found. The main aspects that bring together the thoughts and activities of Dalcroze with the ideals of the ancient Greeks are highlighted: musical-rhythmic activity in the group which is similar to the functioning of the choir in ancient Greek tragedy; its main goal is a balanced and harmonious development of man, his aesthetic and physical education; a gesture and a plastic movement are the means of expression, when the expressive value of dance in the ancient tragedy, inextricably connected to the music and poetry of a single rhythm, is similar to rhythm-plastic of Dalcroze. The consonance of ideas of the teacher-musician Dalcroze and philosopher M. Merleau-Ponty on the need to establish communication between mind (imagination, emotions, soul) and matter (body, feelings, action) are identified. The influence of praxeology, aesthetics and philosophy of art education on the theoretical justification of rhythm as an effective means of harmonization of the personality through the music-motional activities was found out. It is proposed to shift the focus from the aesthetic and intellectual perception of music on procedural. In order to justify ideas of Dalcroze in the native discourse the ideas Valeriy Kosiak about philosophical interpretation of man and his physicality in various forms of culture are highlighted. Special attention deserves the scientist’s interpretation of rhythm as rhythm-plastic and definition of dance by the language in which a sense of life as an incarnated rhythm is expressed.

11

Dzieło architektoniczne w kontekstach: witruwiańskim i cech dzieła literackiego

80%

Podhalański B. , Arvay-Podhalańska E.

Czasopismo Techniczne. Architektura

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2009

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tom R. 106, z. 1-A

465-470

PL

Dzieło architektoniczne przyrównać można do dzieła literackiego. Można próbować analizować go jako fabułę, opowieść zapisaną językiem formy architektonicznej, w kontekście pięciu najbardziej cenionych przez I. Calvino cech dzieła literackiego (lekkości, dokładności, szybkości, przejrzystości i wielorakości). Zakłada się, ze dzieło architektoniczne musi spełniać kryteria witruwiańskiej triady, gdy inaczej nie mogłoby być za takie uznane. Przeanalizowano dwa przykłady współczesnych realizacji budowli sakralnych Krakowa, jako posiadające wszystkie, charakterystyczne dla obu ujęć cechy.

EN

Architectural masterpiece is similar to literature masterpiece. Both might be subject to the analysis in Vitruvian context of durability, suitability, beauty (firmitas, utilitas, venustas) and Calvino's context of lightness, accuracy, speed, transparency and diversity. A building to be recognized as an architectural masterpiece must fulfill vitruvian features first. Two of the contemporary churches in Cracow were analyzed, as compatible with all three Vitruvius' and five Calvino's features.

12

Hiszpańska firma "Finsa" produkuje lekkie płyty

80%

W.O.

Biuletyn Informacyjny Ośrodka Badawczo-Rozwojowego Przemysłu Płyt Drewnopochodnych w Czarnej Wodzie

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2012

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tom 53

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nr 1-2

13