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The ancient concept of the underground is mainly associated with the outdated triadic cosmology. In modernity, some authors such as Dostoevsky and Nietzsche have dialectically referred to the underground as an alternative to the principle of reason or ground. Others—such as Hegel or Heidegger—have more radically linked this dialectic to the abyssal unground, recalling Boehme and Hölderlin. However, all these modern dialectical constellations of ground, underground, or unground have failed to provide a philosophical vision that would overcome the aporetic relationship between metaphysical grounding and phenomenal appearance. They have left aside the reality of the Marian underground, overshadowed by the Spirit and Cross and marked by Christ’s descent into the underground, by which the powers of the ancient underground were apocalyptically drawn into the liturgical celebration of a persecuted Church. In this article, I will link Jan Patočka’s phenomenology of the underground experience and Zdeněk Neubauer’s Marian metaphysics to prove that, in the apocalyptic horizon of suffering and persecution, the Sophianic and Marian revelations spell out the created form of Trinitarian being, that becomes a miraculous rescue of all relations and phenomena as the ground shining from within the underground, and the underground within the ground.

The central research question of this study was ‘how do actors govern the underground in large infrastructure projects?’. In this dissertation, I show that project actors grapple with the governance of the underground. Two major factors emerge in explaining the struggle. Firstly, the reductionistic philosophy of projects resulted in fragmentation of the large infrastructure project into subprojects and different phases which leads to hierarchical relationships between underground experts and project managers that are challenging to manage and leads to different priorities throughout the different project phases in which the underground can be forgotten. Secondly, the cognitive biases of project actors point toward focus on seeing underground risks predominantly as complex, which means that project participants generally believe that all risks can be known through measurements of the underground, and consequently failing to acknowledge other types of risks that require different approaches. However, accurate and reliable data on the underground was often missing, and the results show that the relationship between project managers and underground experts is important in taming the underground. Solutions to govern the underground can be sought by thinking about ways to integrate the fragmented parts of the projects, and facilitate those conditions under which knowledge integration is fostered throughout the project. The governance of the underground can be improved by project managers steering on joint ownership and inclusivity of underground experts at the different stage of the project so they are able to provide insights into the risks of the underground. Joint ownership and inclusivity might facilitate a stronger focus on the quality of the delivery of underground assets within the scope of the project realization. To accomplish ownership and inclusivity, project managers and underground experts alike need to be aware of the various types of risks that are residing in the underground.

The central research question of this study was ‘how do actors govern the underground in large infrastructure projects?’. In this dissertation, I show that project actors grapple with the governance of the underground. Two major factors emerge in explaining the struggle. Firstly, the reductionistic philosophy of projects resulted in fragmentation of the large infrastructure project into subprojects and different phases which leads to hierarchical relationships between underground experts and project managers that are challenging to manage and leads to different priorities throughout the different project phases in which the underground can be forgotten. Secondly, the cognitive biases of project actors point toward focus on seeing underground risks predominantly as complex, which means that project participants generally believe that all risks can be known through measurements of the underground, and consequently failing to acknowledge other types of risks that require different approaches. However, accurate and reliable data on the underground was often missing, and the results show that the relationship between project managers and underground experts is important in taming the underground. Solutions to govern the underground can be sought by thinking about ways to integrate the fragmented parts of the projects, and facilitate those conditions under which knowledge integration is fostered throughout the project. The governance of the underground can be improved by project managers steering on joint ownership and inclusivity of underground experts at the different stage of the project so they are able to provide insights into the risks of the underground. Joint ownership and inclusivity might facilitate a stronger focus on the quality of the delivery of underground assets within the scope of the project realization. To accomplish ownership and inclusivity, project managers and underground experts alike need to be aware of the various types of risks that are residing in the underground.

Underground excavation mapping and rock mass characterization are critical for ensuring the safety, proper design, and maintenance of underground infrastructure. Traditional mapping methods typically involve manual inspections and measurements that require contact with the tunnel surface, which can be time-consuming, expensive, and pose safety risks to personnel. In recent years, photogrammetry has emerged as an alternative method for generating high-resolution digital 3D models of tunnels, enabling rapid and remote rock mass measurements. In this paper, we present a method for tunnel and stope scanning using photogrammetry and remote rock mass mapping from 3D models. Two case studies are presented to demonstrate the effectiveness of the proposed method. In the first case, a multi-camera rig consisting of action cameras is used for video-based photogrammetric reconstruction of underground tunnel excavation. The rock mass data is then extracted from the model and visualized. In the second case, a drone workflow is used to map out rock mass features in stopes. Images taken with the drone are processed to create a 3D point cloud of the stope, which is then used to extract discontinuities from the rock mass surfaces. The orientation and spacing of these discontinuities are measured and visualized on top of the photorealistic 3D mesh of the stope for inspection. The proposed method significantly reduces the data capture process. The advancements in camera and software technologies have made it possible to acquire rapid and accurate 3D models of underground excavations that can be used as a source of rock mass data. Our results demonstrate that photogrammetry is a robust approach for underground rock mass inspection and remote mapping.

Le mardi 4 octobre 2022, contre toute attente s'éteignait Marc Viré. Il laisse un grand vide. Enfant, Marc était déjà passionné d'histoire, l'histoire de son quartier où il furetait, entrait dans les cours, se glissait dans les maisons anciennes, puis de Paris qu'il arpentait ; il lisait tout ce qu'il trouvait. Cette curiosité l'a mené à consacrer ses études et son métier à l'histoire et l'archéologie, sur les traces de son grand-oncle, Armand Viré qui fut géologue, préhistorien, hydrogéologu...

This thesis discusses the artist Jan Steklik and the Crusader school of pure humour without the joke. In the introduction, the political situation and visual arts during the normalization period are presented, then the origin and history of the Crusader school is introduced. These include Karel Nepras, Zbynek Sion, Eugen Brikcius or Helena Wilson. All of their most important projects are presented. The second part of the work is devoted to Steklik himself. First, his biography is presented, which summarizes his life from his childhood, his studies, to his last exhibitions. Then his role in the Crusader school is discussed in detail. Finally the last part of the thesis is dedicated to his art. His beginnings, drawings, land- art projects and exhibitions are as well. The aim of this work is to introduce the personality of Jan Steklik not only as an artist, but also as a person who brought humour into the grey socialist society.

Human pose estimation (HPE) is a widely researched field of computer vision. General HPE methods, which predict 2D keypoints representing joints of the human body, are useful for developing solutions for more specific pose-related tasks such as activity detection or motion capture. In recent years, convolutional neural network based approaches have been dominating public HPE benchmarks in single-person and multi-person estimation tasks. There has been interest in applying HPE methods in the mining industry, which is already seeing an increasing amount of advanced computing and automation deployed in working environments. The underground working environments of industrial mines has many challenges for computer vision, most notably difficult lighting conditions. Additionally, when applying deep-learning solutions pre-trained on generic data, they might struggle with the characteristic visual features of mining operations, which differ greatly from many more common imaging scenarios. In this thesis work, we investigate existing HPE solutions and if they could be used in a challenging underground working environment. To this end, 13 different pre-trained multi-person human pose estimation models are compared when used on test data collected from an industrial mine. Additionally, one of these models, Detectron 2's Keypoint R-CNN R50, is further fine-tuned using simulated training data mimicking the mine environment. All of the selected models are freely available with pre-trained weights online at the time of writing. Performance is measured with two distinct tests: keypoint localization and human pose prediction. In the pose prediction test, a simple pose classifier based on random forests is predicting poses from keypoints predicted by the HPE methods, which are then scored based on the amount of correct and false poses predicted. Keypoint localization is scored in relation to the distance between predicted points and ground truth points. Best performing off-the-shelf model in the tests is found out to be Detectron 2's Keypoint R-CNN X101, but other (and lighter) top-scoring models reach promising accuracies as well. Fine tuning Keypoint R-CNN R50 with simulated data improves performance on the test set. Scores both in keypoint localization and pose prediction tests increase after fine-tuning. These encouraging results suggest that a cost-effective domain transfer for existing methods to the mining environment is feasible.

The bachelor thesis Analysis of movie and television content referring to the Czech underground produced before 1989 focuses on the elements of communist propaganda in the nationwide campaign against the Czechoslovak underground in the 1970s. The thesis examines film and television content produced about the underground movement in the 1970s using qualitative discursive and content analysis method. In the theoretical part, I draw on literature and contemporary newspaper articles to add the historical context. I also present events that had an impact on the development of musical genres in socialist Czechoslovakia and the creation of the underground as a way of life. The next part presents a short history of the bands The Plastic People of the Universe and DG 307 and introduces the circumstances of the Kapela event of the clandestine State security. The last chapters of the theoretical part are devoted to propaganda and its use in film. In the practical part of the thesis, the film Atentát na kulturu (Assassination of Culture) and the episode Mimikry from the 30 případů majora Zemana (Thirty Cases of Major Zeman) TV series are analysed. In the conclusion, the most important findings of the analysis are summarized and the propaganda elements of the two analysed films are compared. The thesis aims to...

Mining is a high-risk industry, so efficiency and safety are key priorities. Technological advancements, such as digitisation, digitalisation, and automation have made mines safer. These developments have also highlighted the need for operators with updated skills and improved education programs. This study analysed the training of semi-autonomous and manual Load Haul Dump (LHD) operators’ at LKAB’s Kiirunavaara mine, focusing on operators’ training, perspective and integration of more recent tool such as simulator training. The survey questionnaire was sent to all 120 LHD operators. 86 answers were received, giving response rate of 70%. Results showed that operators generally were satisfied with how the training was structured, organised, and delivered. However, they wanted to add more topics, including practical loading, spending time with departments of other sub-processes, etc. In addition, 36% of the operators, including 20% of those operating semi-autonomous LHDs, and 80% of those operating manual LHDs, found simulator training difficult. Funder: Luossavaara-Kiirunavaara AB, Sweden

Жерасты шахталарын үнемі қадағалау үшін визуалды бақылауға немесе дискретті орналастырылған тікелей байланыс өлшеу датчиктеріне сүйенеді. Мұндай тәсілдер қолмен жасалынады және көбінесе шахта қызметкерлеріне өте қауіпті және өлшеу жұмыстарының дәлдігі жоғары болмауы мүмкін. Осыған байланысты тау-кен кәсіпорындарында өндірістік процестерде геодезиялық және маркшейдерлік өлшеу жұмыстарын қамтамасыз етуде лазерлік сканерлеу кенорындарын уақтылы бақылауға мүмкіндік береді. Зерттеулер лазерлік сканер шахтадағы өзгерістерді анықтауда, тазарту жұмыстарының тиянақты орындалуын бақылауда және жерасты құрылымын картаға түсіруде маркшейдерге өлшеу жұмыстарын жүргізуде қажетті дәлдікке қол жеткізуге болатындығы келтірілген. Сондықтан мақалада жерасты қазбаларындағы бос қуыстарды лазерлік сканерлеудің тиімділігі жан-жақты қарастырылды, It relies on visual monitoring or discretely placed direct contact measurement sensors to continuously track underground mines. Such approaches are made manually and are often very dangerous for mine workers, and the accuracy of measuring work may not be high. In this regard, laser scanning allows timely monitoring of deposits in the provision of Geodetic and surveying measurements in production processes at Mining Enterprises. The studies show that the laser scanner can achieve the necessary accuracy in detecting changes in the mine, monitoring the thorough execution of cleaning operations, and mapping the underground structure to the surveyor in carrying out the measurements. Therefore, the article will comprehensively consider the effectiveness of laser scanning of empty cavities in underground excavations, Для постоянного наблюдения за подземными шахтами используются визуальное наблюдение или дискретно размещенные датчики прямого контактного измерения. Такие подходы выполняются вручную и часто очень опасны для персонала шахты, и точность измерительных работ может быть не такой высокой. В связи с этим, обеспечение геодезических и маркшейдерских измерительных работ в производственных процессах на горных предприятиях позволяет своевременно контролировать лазерные сканирующие устройства. Исследования показывают, что лазерный сканер может достичь необходимой точности в обнаружении изменений в шахте, контроле тщательного выполнения очистных работ и картографировании подземных сооружений для маркшейдера при проведении измерительных работ. Поэтому в статье подробно рассматривается эффективность лазерного сканирования пустых полостей в подземных выработках, Горный журнал Казахстана, Выпуск 5 (2017) 2023, Pages 48-53

The article is devoted to the issue of the critical reception of F.M. Dostoevskys Notes from Underground in the XXth century. Some letters, as well as books on philosophy and literary criticism by such writers as D.H. Lawrence, J.M. Murry, C. Wilson and I. Murdoch are analysed. The reviews by the given authors correspond to two waves of interest in Dostoevsky - the first one took place at the turn of the XXth century followed by the second one in the middle of the century. The writers name the key characteristics of the Underground Man: vanity, egoism, self-division, desire for suffering and inability to act. Some critics of Dostoevskys Notes see the Underground Man as recurrent image and note his relevance to the ideas of existentialism, especially the one about inability to apprehend truth in a rational way.

The object of research is various designs of support blocks with intermediate fasteners for underground areas of both domestic and foreign production. An integrated approach to testing block track structures is proposed and implemented: modeling of cyclic loading typical for the entire track structure, as well as shock loading typical for intermediate butt rail fastenings. The test frequency is set to 10 Hz under cyclic loading. A method is presented for improving the testing equipment in the framework of modeling the transfer of loads from the wheel to the rail in the plane of contact between the rolling surfaces of the wheel and the rail. The main results of the tests are presented. Under dynamic loading, the maximum forces in the rail arise in a structure with a conventional pad (of the order of 50–55 kN), a more complex spectrum of force variation with a maximum amplitude of about 20–25 kN and a span of 30–40 kN is characteristic of the Metro wooden block. The lowest values of vibration accelerations in the implementation of this approach are shown by the LVT block. Structures with a vibration isolating pad have the highest vibration acceleration values in the frequency range from 10 to 31.5 (40) Hz. In the zone of higher frequencies, the investigated structures have comparable values of vibration accelerations. The analysis of vibration characteristics is carried out on the basis of the recorded values of vibration accelerations in characteristic measuring points. The values of vibration accelerations and their relative comparison are given depending on the installation position of the measuring channels and on the type of construction. It is noted that in the 10 Hz zone the values of vibration accelerations are minimal when using a vibration isolating pad with a hardness of 65 Shore A. Comparative results for frequencies of 31,5 and 63 Hz are presented. It is recommended for the design options that showed the best results to conduct operational tests in underground conditions.

Rad je posvećen pregledu kulture glazbenih festivala modernog doba, od njihovih začetaka s festivalima klasične glazbe do festivala elektroničke glazbe koji su u današnjem vremenu izdominirali ponudom i količinom festivala. U radu je prikazan društveno politički kontekst vremena u kojem su određeni tipovi glazbenih festivala nastajali, njihove uloge i utjecaji te njihova transformacija kroz vrijeme. U radu je predstavljena analiza kulture festivala elektroničke glazbe na području Republike Hrvatske, s naglaskom na teorijsko i terensko istraživanje razvoja i njegovanja kulture festivala elektroničke glazbe na otoku Pagu i Krku. Analiza predstavlja lokacijske i sadržajne razlike dvaju otoka, zatim razlike lokalne i strane produkcije festivala, te ispituje stajališta polaznika festivala na području Krka, Rijeke i okolice i probleme s kojima se susreće lokalna organizacija festivala na otoku Krku. U radu su istaknuti aktulani festivali na hrvatskoj sceni i njihovi pozitivni i negativni utjecaji na društvo, turizam, lokaciju, ali i pojedince (organizatore, izvođače, polaznike..). U skladu s postmodernističkim vremenom i razvojem kulture mladih kojoj festivali ovakvog tipa i pripadaju, predstavljena je postsubkulturalna teorija i novi oblik turizma koji se rađa kao posljedica eksplozije festivala elektroničke glazbe – clubbing turizam. Ako festivali elektroničke glazbe toliko dominiraju festivalskom ljetnom scenom te su sve više uvršteni u turističku ponudu određenih lokacija, kroz rad se provlači pitanje, ostaju li onda u domeni underground kulture ili se te granice kao kod koncepta subkulture zamagljuju i možemo reći da lagano prelaze u mainstream., The work is devoted to an overview of the culture of music festivals of the modern era, from their beginnings with classical music festivals to electronic music festivals, which nowadays dominate the offer and quantity of festivals. The paper presents the socio-political context of the time in which certain types of music festivals were created and their roles and influences on their transformation over time. The paper presents an analysis of the culture of electronic music festivals in the Republic of Croatia, with an emphasis on theoretical and field research on the development and nurturing of the culture of electronic music festivals on the island of Pag and Krk. The analysis presents the location and content differences of the two islands, then the differences between local and foreign festival productions, and examines the views of festival attendees in the area of Krk, Rijeka and the surrounding area and the problems faced by the local organization of the festival on the island of Krk. Current festivals on the Croatian scene and their positive and negative impacts on society, tourism, location, and individuals (organizers, performers, attendees...) are highlighted in the paper. In accordance with the postmodernist era and the development of youth culture, to which festivals of this type belong, postsubcultural theory and a new form of tourism are presented. This new form of tourism is born as a result of the explosion of electronic music festivals, called clubbing tourism. If the festivals of electronic music dominate the festival summer scene so much and they are increasingly added to the tourist offers of the certain locations, there is a question that runs through this paper – do they stay in the domain of the underground culture, or are that boundaries like in the concept of subculture, being blurred together more so it can be said that they are slowly transitioning in the mainstream

[ES] La periferia física y geográfica del Barrio de Sant Isidre no se había traducido hasta ahora como la respuesta urbana al problema de desconexión de espacios verdes y crecimiento urbano con la huerta originado en los años 1960 y 1980 con el origen del plan sur del nuevo cauce del río Turia y el desarrollismo urbano. Sant Isidre se encuentra hoy en la transición de la huerta a la ciudad, ejerciendo de conexión en el sur de la ciudad de Valencia entre la huerta y el futuro parque central. La solución propuesta a este problema es la creación de un parque urbano en la dirección de la Acequia de Favara, de las más bajas acequias que discurren por la derecha del antiguo cauce del Turia, que enlace con la estación ferroviaria de Sant Isidre, la huerta el cementerio y la ciudad. Así mismo, se ha visto la necesidad de proponer una estación de metro que anime a la gente a dejar su vehículo en un aparcamiento especialmente diseñado y así acercarse en metro hasta la estación, el cementerio, la huerta y otras áreas del centro, al mismo tiempo que se potencia el uso de autobuses y bicicletas a través del parque. El concepto general se basa en unas lineas y planos superpuestos que se entrelazan para formar un todo en movimiento cuyas partes son las generadas por el coche, el metro, la bicicleta y el peatón; cada parte con su trayectoria y su rastro sin dejar la posición estática el sistema del parque en que se hayan contenidos, traduciendo estas transiciones entre los diferentes medios de transporte y espacios verdes de huerta-parque-jardín en las transiciones materiales de la estación, el ajardinamiento y el propio contexto., [EN] The physical and geographical perifery of Sant Isidre neighborhood had so far not resulted so far the urban solution to the disconnection of green spaces and the urban growing problem originated between the 60s and the 80s with the setting of the south plan for the Turia¿s new riverbed and the urban development. Sant Isidre is located in the transition between the city and the orchard, acting as a connector in the south of Valencia between the orchard and the coming Central Park. The proposed solution to this problem is to create an urban park with the same direction of the Favara¿s irrigation ditch, one of the lowest irrigation ditch flowing by the right side of the Turia's old riverbed, that links with the train station of Sant Isidre, the orchard, the graveyard and the city. Thus, it is needed a plan for a metro station that encourage people to leave their cars outside the city in specially designed car parks and then take the metro to the train station, the graveyard or the garden and the rest areas of the city center. The overall concept is based on overlapping plans and lines that knit together to form a constantly shifting whole whose sides engendered by car, tram, bicycles and pedestrian; each part has a trajectory and a trace, without letting its static state in the park sistem where they are contained, rendering these transitions between transport types and green spaces ( garden-park-garden) in material and spatial transitions of the station, the landscaping and the context .

Het innovatiekantoor van Witteveen+Bos op EnTranCe bestaat 1 jaar. Om te vieren dat we een succesvolle samenwerking met EnTranCe verlengen, willen wij u van harte uitnodigen voor ons symposium op 15 november aanstaande in de EnergyBarn bij EnTranCe.

The stunning nation of Uzbekistan is home to both historic buildings and breathtaking natural features. Here, lakes and mountains are next to one other, while wetlands are next to deserts. These locations are a true benefit for the Uzbek people, but hidden in the depths of these enormous plains is another, more valuable resource that is unknown to most people — those who are continually engaged in the search for and extraction of precious metals. This article keeps opinions and reflections on the substantiation of approaches for a detailed analysis of the geo-mechanical state of rocks in gold resources that are mined underground.

El ska es una música arraigada a su lugar de origen: Jamaica. Sin embargo, es también una música que ha adquirido una personalidad única en Bogotá, a través de la implementación de nuevas interacciones, circuitos, símbolos y formas de consumo. Su sonido transmite alegría e identifica a los miembros de la escena con una serie de significados relacionados con el ámbito local, en dialogo con luchas comunes a otros contextos. Esta investigación pretende aportar al análisis de la música popular y al cómo esta se relaciona con toda una comunidad de gente que atribuye significados a las música y trabaja para posibilitar su consumo, referenciada aquí como escena/circuito: bandas, seguidores, productores, vendedores, diseñadores de ropa, discos, ilustradores gráficos, etc. Como resultado, este estudio identificó las dinámicas sonoras y escénicas que hacen del ska una práctica social que persigue no solamente unos ideales, sino que se mueve por un circuito que responde a las posibilidades y necesidades actuales de interacción, identificando en la escena bogotana un carácter glocal y una respuesta comercial localizada en una mancha musical underground (Texto tomado de la funte) Ska is a music attached to its place of origin: Jamaica. Nevertheless, it is always a music that has acquired a unique personality in Bogota through the implementation of new ways of interaction, circuits, symbols, and consumerism practices. Its sound transmits joy and identifies the members of its scene with a plethora of meanings that are related to the local context, negotiated with common international struggles. This research aims at feeding the field of analysis of popular music, and how it is related with a whole community of people who signify music and work together to permit consuming it. That is what is called scene/circuit in this paper: bands, followers, producers, merchants, clothing designers, records, graphic designers, etc. As a result, this study identified sound and scene dynamics that make ska a social practice that pursues ideals, and moves through a circuit that relates to the possibilities and requirements for modern interaction, which gives the scene in bogota a glocal character and a located commercial response in the mancha of underground music. Maestría Antropología Social

Ovaj rad bavi se pojmom urbanosti, urbanim gradom i društvenim odnosima u njemu. U kontekstu supkulturalne teorije i postsupkulturalne paradigme promatra se stvaranje zajednica i funkcioniranje glazbenih scena. Procesi kojima se unutar društvenih grupa razvija kolektivni i individualni identitet također su u središtu promatranja. Na samom početku prikazani su metodološki alati koji su korišteni tijekom pisanja rada i prilikom samostalne analize queer feminističkog kolektiva POSSY. Analizom dijela underground zajednice potkrepljuje se teza da stvarna, proživljena iskustva u društvenim i humanističkim znanostima uvijek iznova dokazuju važnost priča kroz koje se opisuje društvo i kulturološko funkcioniranje u određenom vremenskom periodu. Zatim se sociološkim diskursom u fokus stavljaju urbana glazba i glazbene reprezentacije kao reakcije na društvene nejednakosti. Marginalizirane društvene skupine se kroz cijeli rad konceptualno izdižu kao bitne. Kritičko izučavanje funkcioniranja individue u društvu, sagledavanje njezinih potreba te preispitivanje socioekonomskih, političkih struktura koje neminovno utječu na život iste prikazane su kroz razne primjere underground scena. Povijest i položaj FLINTA* people of color osoba supkulturama i underground glazbenim scenama od punka do rave generacije pomažu kako bi se shvatile neprestane promjene u shvaćanju društvenih promjena., This thesis scrutinizes whit the concept of urbanity, the urban city and social relations in it. In the context of subcultural theory and the post-subcultural paradigm, the creation of communities and the functioning of music scenes are observed. The processes which collective and individual identity are developed within social groups are also at the center of observation. At the very beginning, the methodological tools that were used during the writing of the paper and during the independent ethnomusicological research of the queer feminist collective POSSY are presented. Ethnomusicological research supports the thesis that real, lived experiences in the social humanities prove time and time again the importance of stories through which society and cultural functioning are described in a certain period of time. Then, the sociological discourse focuses on urban music and musical representations as reactions to social inequalities. Marginalized social groups are conceptually elevated throughout the work as essential. The critical study of the functioning of the individual in society, the assessment of his needs and the questioning of the socioeconomic and political structures that inevitably affect his life are presented through various examples of underground scenes. The history and position of FLINT* people of color subcultures and underground music scenes from punk to the rave generation help to understand the constant changes in the understanding of social change.

Hydrogen storage in a depleted gas field is a promising solution to the seasonal storage of renewable energy, a key question in Europe’s green transition. The gas composition and pressure in the month-long storage and recovery phase can vary substantially; meanwhile, the recovered H2 has to be pure, especially for fuel cell applications. Pressure swing adsorption can be used for the purification of the recovered gas. A lab-scale, four-bed PSA unit was built to investigate its applicability by separating different H2-CH4 mixtures. The feed parameters in the experiments are based on a depleted gas reservoir with a pressure range of 25–60 bar and methane contamination between 0 and 35%. The change in the feed properties is modeled by four distinct stages and the twelve-step cycle is tailored to each stage. The high pressure did not have any irreversible effects on the process. A hydrogen purity of 99.95% was achieved in all stages with the average hydrogen recovery ranging from 60 to 80%. The experiments revealed the challenges of a cycle design when the feed parameters are not constant, but an adequate separation performance was shown, which supports the applicability of the PSA in seasonal storage and confirms the need for further investigation with multicomponent contaminants and large-scale projects.

Ovaj rad bavi se temom balkanizma, te postavlja tezu kako isti služi kao profit u filmskoj industriji. Obrađujući Balkan kao koncept i balkanizam kao vrstu diskursa, argumenti ukazuju na određenu vrstu reprezentacije Balkana i balkanskih naroda u filmskim naslovima, a kroz primjere sljedećih filmova: „Podzemlje“ (r: Emir Kusturica, 1995), „Ničija zemlja“ (r: Denis Tanović, 2001), „U zemlji krvi i meda“ (r: Angelina Jolie, 2011). Rad sagledava poziciju ovih filmskih naslova na razini globalnog uspjeha, konteksta stvaranja te reakcije publike. Kroz ove filmske naslove, čija je tematika Balkan i njegov identitet, neovisno o nacionalnosti redatelja (referirajući se na naslove stranih autora koji su se ipak bavili temama koje se vezuju za identitet Balkana), istražuje se prihvaćanje balkanskih identiteta kao Drugih samima sebi, čime se pospješuje uspjeh određenog filmskog naslova i prepoznatljivost na svjetskoj razini. Provedena anketa s određenim ciljanim skupinama istražuje njihov stav spram prikaza Balkana i njegova identiteta u filmu, s naglaskom na navedene naslove. Također, anketa istražuje što za pojedince označava pojam Balkana i identificiraju li se sa nametnutim identitetom istog. Kroz istraživanje literature, izvora, filmskih naslova i istraživanja anketnim putem ovaj rad bavi se pitanjem Balkana kao živućeg koncepta te gdje je njegovo mjesto u filmskoj industriji, odnosno donosi li profit na razini svjetskog uspjeha ili popularnosti., This paper deals with the subject of Balkanism and puts forward the thesis that it serves as a profit in the film industry. Addressing the Balkans as a concept and Balkanism as a type of discourse, the arguments point to a certain type of representation of the Balkans and the Balkan peoples in film titles, and through the examples of the following films: "Underground" (directed by Emir Kusturica, 1995), "No Man's Land" (directed by Denis Tanović, 2001), "In the Land of Blood and Honey" (directed by Angelina Jolie, 2011). This paper examines the position of these film titles at the level of global success, the context of their creation and audience reaction to them. Through these film titles, whose theme is the Balkans and its identity, regardless of the nationality of the director (referring to the titles of foreign authors who nevertheless dealt with topics related to the identity of the Balkans), the acceptance of Balkan identities as Others to themselves is explored, which enhances the success of a certain film title and recognition on a global level. A survey conducted with certain target groups investigates their attitude towards the portrayal of the Balkans and its identity in the film, with an emphasis on the mentioned titles. Also, the survey investigates what the term Balkans means for individuals and whether they identify with the imposed one of the same. Through the research of literature, sources, film titles and survey research, this paper deals with the question of the Balkans as a living concept and where it is in the film industry, i.e., whether it brings profit at the level of worldwide success or popularity.

Odnos mitologije i ljudi može se vidjeti i na način na koji su stari Grci i Japanci gradili hramove bogovima, štovali ih i pisali priče. Mitologija ovih civilizacija objašnjava prirodne katastrofe, postanak svijeta i smrt. Obje su kulture prakticirale politeizam, a bogovi su imali moć nad ljudskim svijetom te su izazivali veliko strahopoštovanje. U japanskoj mitologiji svijet nastaje spajanjem božanstava Izanami i Izanagi, dok u grčkoj mitologiji boginjom Eurinomom i zmijom Ofionom. I u grčkoj i u japanskoj mitologiji svijet nastaje iz kaosa, no razlika je u dominantnosti spolova. Obje mitologije, kroz bogove i postanak svijeta, uključuju nastanke novih elemenata žive i nežive prirode. Motiv odlaska u podzemni svijet u grčkoj mitologiji može se vidjeti u mitovima poput otmice Perzefone, smrti Euridike i Tartarove otmice Helene. Motiv odlaska u podzemni svijet u japanskoj mitologiji može se uočiti u mitovima poput smrti boginje Izanami te bijegu boga Okuninushija. Obje mitologije uključuju kušanje voća kao prepreku odlaska u svijet živih, orfejevski motiv kršenja zabrane, povezanost bogova i prirodnih nepogoda. Međutim, grčki mitovi su bogatiji detaljima podzemnog svijeta te se više štuje ženski spol. The relationship between mythology and people can also be seen in the way the ancient Greeks and Japanese built temples to the gods, worshiped them and wrote stories. The mythology of these civilizations explains natural disasters, the creation of the world and death. Both cultures practiced polytheism, and the gods had power over the human world and caused great awe. In Japanese mythology, the world was created by the union of the deities Izanami and Izanagi, while in Greek mythology by the goddess Eurynome and the snake Ophion. In both Greek and Japanese mythology, the world emerges from chaos, but the difference is in the dominance of the sexes. Both mythologies through the gods and the creation of the world include the emergence of new elements of animate and inanimate nature. The motif of going to the underworld in Greek mythology can be seen in myths such as the abduction of Persephone, the death of Eurydice, and the abduction of Helen by Tartarus.The motif of going to the underworld in Japanese mythology can be seen in myths such as the death of th goddess Izanami and the escape of the god Okuninushi. Both mythologies include tasting the fruit as an obstacle to going to the world of the living, the Orpheus motif of breaking the prohibition, the connection between the gods and natural calamities. However, Greek myths are richer in details of the underworld and the female gender is more revered.

Pillar collapses are events that due to their severe consequences can be classified as high risk. The design of pillars in underground room-and-pillar operations should migrate to risk-based design approaches. The authors of this work proposed a risk-based pillar design methodology that integrates stochastic discrete element modeling for pillar strength estimation, and stochastic finite volume modeling (FVM) for stress estimation. This paper focuses on the stochastic FVM component for stress estimation. The mining and geomechanical aspects of a case study mine (CSM) are described and pillar stresses are estimated by using three approaches: (1) analytical solutions, (2) 2D finite element modeling, and (3) 3D finite volume modeling. This operation extracts a 30 degrees dipping deposit, which makes current underground stone mine design guidelines inapplicable for this CSM. This work compares results from each stress estimation approach and discusses uses the point estimate method as a simplified stochastic approach to evaluate the effect of rock mass elastic properties variability on pillar stress distribution. Results from this work show that the three estimation approaches lead to different estimations, possibly, due to the wide range of assumptions each estimation approach considers. It was also determined that the horizontal to vertical stress ratio has a significant impact on pillar stress magnitude. Therefore, it is recommended to perform in situ stress measurements, or assume worst-case-scenario values to account and reduce uncertainty due to this parameter. The stochastic stress estimation approach used in this paper provides results that can integrate a risk-based pillar design framework. NIOSH Mining Program [200-2016-91300] Published version This work was funded by the NIOSH Mining Program under Contract No. 200-2016-91300.

Grado en Ingeniería Civil con Mención en Construcciones Civiles (Plan 2020)

My paper is based on concept of Social unconscious and Basic Musical Matrix, defined by Foulkes (1964) and videly commented by Helena Klímová (2017). She explains and compares two different approaches to the personal freedom: that of Underground, subversive art, imported from West, and home-spun folk song. While pure poetry and other forms of literature are thoroughly mapped by generations, the field of songwriting and lyrics is seldom closely watched, if not completely neglected.

The article researches the topic of “artistic distrust” as a possible rebel path of the rebellious artists from the mainstream to the underground existence. The artist’s existence of reality on the principle of doubt about any norms (the model of “anthropology of distrust”) has a long historical longevity. Through the analysis of both high-quality works of art and safe normative art in different periods we observe various examples that may show this point of view. In medieval art we notice the precedent of “disobedience” and non-compliance with the norms of the official church in decorations of the temples and overcoming of anonymity. Thus the artist Anton Pilgram resorted to self-affirmation, as long as the master signed his own work in the spotlight and made a self-portrait on it.From the Renaissance, the idea of individual search, experiment, that is, disobedience and doubt in traditions, has been working in the minds of Europeans. The latest philosophical thought of the beginning of the “anthropology of distrust” sees its origins in the worldview models of the Renaissance. Leonardo da Vinci, with his curiosity and the genius of exploration, has remained an iconic figure to this day and an obvious symbol of total doubt and distrust of all that is established. With the ideal of a beautiful, flawless man, philosophy and art parted with difficulty, in the dramatic realization that it was time to present the unattractive, the ugly, the unfinished, and the negative as artistic qualities in the works of the New Age. “Anthropology of distrust,” doubting the inviolability of existing (at different times) norms manifests itself dualistically. In the works of great masters the denial of norms thatexisted in the art of a particular era had a progressive, positive meaning, because it opened up new levels of worldview to culture. In global art practice, the vast majorities of artists were and are conformists. Conformism in art supports tradition, holds the level of skill, but has no pretensions to open new horizons in the artistic reflection of the world. The situation is quite different when the artist questions any stability in art, or totally denies them. This is not a riot for the sake of a riot, but a feeling of something missing that the artist himself is not yet able to explain. According to the promising thinking of the bright philosophers of the 17th–20th centuries, self-distrust, doubts about the perfection of one’s own achievements, and a look into the non-existent are productive for culture. These impulses of the psyche proved to be fundamental and indisputable in the mentality and culture of modern times. The most radical were the programs of Dadaism and Futurism. In a person of the pre-modern era, the deviation from the norm caused stupor. Now the procedural features of the “anthropology of distrust,” the feeling of one’s own deficiency activate the artist’s creative thought and encourage a reckless search, sometimes even complete self-denial. At all times, until today, the bravest in their own rebellion against existing norms (both artistic and social) often fall on the margins of life and the artistic process, or even underground. Such artists are not understood or supported by the general public, and even worse, they are treated with suspicion and sometimes hostility. In the early 1990s, when the young generation of Ukrainian artists opposed the remnants of the Soviet mentality in both art and social life, the “anthropology of distrust” had a life-giving meaning. The mobilizing philosophy of “distrust” regarding the normative nature of socialist realism led to the formation of Ukrainian “contemporary art” which later turned into neo-conformism., Статтю присвячено темі «художньої недовіри», яка властива митцям авангардного мислення в подоланні ними як творчих і психологічних, так і соціокультурних обмежень на шляху до творчої свободи. На прикладі аналізу ключових моментів творчості художників різних періодів унаочнено всеохопність та довге історичне життя так званого «підривного мистецтва» як прояву «антро- пології недовіри». Доведено та проявлено ідею сумніву, неспокою, недовіри в мистецтві переломних часів (авангардизм 1910–1920-х та український досвід 1990-х – початку 2000-х).

A method for direct liquefaction of coal is presented. After separating the coal from waste rock gravitationally in an aqueous salt solution, drying and grinding, the purified separated coal is mixed with a paste-forming reagent. The paste is ground until a colloidal particle size and hydrogenated for 2 hours at temperature of 405°C and 11 MPa hydrogen pressure. Artificial oil was obtained with over 95 % yield with respect to the initial amount of purified coal when the contact of excavated coal with air was avoided. Based on findings, a technology is proposed for underground coal liquefaction with significantly reduced energy consumption of the process, removed environmental hazards and higher efficiency with respect to existing technologies.

Rap, which is a component of hip hop culture, is a mainstream genre in the American music industry today. This musical practice, which is accepted to have emerged in the Bronx area of New York in the 1970s, has become a new and reproduced, consumed commodity by interacting with local dynamics in different countries over time. Turkish Rap music can also be evaluated in this context. However, the historical background of Turkish Rap music is based on the Turkish diaspora living in Germany in the 1980s. In addition to this, Turkish rap that gained visibility as an underground practice in Turkey starting from the mid-1990s is remarkable in mainstream interaction starting from the middle of the 2010s. It is also possible for a music genre to live both a mainstream and an underground life simultaneously. Although mainstream and underground point to opposite positions; a music practice is always open to symbiotic interaction, despite the mentioned opposition.The possibilities offered by today’s media technologies have made music texts produced on a local scale available for instant interaction on both local and global scale. Proceeding from this point, this article focuses on the Rap atmosphere (scene) and dynamics in the center of Izmir in accordance with ethnomusicology discipline which internalizes the method of field research. In this study, which is a review of popular music rap privately ethnography emphasizes the method of information gathering while the scene points out conceptual construction., Hip hop kültürünün bir bileşeni olan Rap, günümüzde Amerikan müzik endüstrisinde ana akım (mainstream) bir türdür. 1970’li yıllarda New York’un Bronx bölgesinde ortaya çıktığı kabul edilen bu müziksel pratik, zamanla farklı ülkelerde de yerel dinamiklerle etkileşime girerek yeni ve yeniden üretilen, tüketilen bir emtia (meta) haline gelmiştir. Türkçe Rap müzik de bu bağlamda değerlendirilebilir. Ancak, Türkçe Rap müziğin tarihsel arka planı 1980’li yıllarda Almanya’da yaşayan Türk diasporasına dayanır. Bununla birlikte Türkiye’de 1990’lı yılların ortalarından itibaren yeraltı (underground) bir pratik olarak görünürlük kazanmaya başlayan Türkçe Rap’in, 2010’lu yılların ortalarından itibaren mainstream etkileşimi dikkat çekicidir. Bir müzik türünün eş zamanlı olarak hem mainstream hem de underground bir yaşam sürmesi de mümkündür. Mainstream ve underground karşıt konumları işaret etse de, bir müzik pratiği söz konusu karşıtlığa rağmen simbiyotik etkileşime her zaman açıktır. Günümüz medya teknolojilerinin sunduğu imkanlar, yerel ölçekte üretilen müzik metinlerini hem yereller arası hem de küresel ölçekte anında etkileşime açık hale getirdi. Buradan hareketle bu makale, alan araştırması yöntemini benimseyen etnomüzikoloji disiplinine uygun bir yaklaşımla İzmir merkezinde Rap atmosferi (scene) ve dinamiklerine odaklanır. Rap özelinde popüler müzik incelemesi olan bu çalışmada scene kavramsal inşayı işaret ederken, etnografi malumat toplama yöntemine vurgu yapar.

In the growth of power system grids, underground cables are now commonly used. Because of some subsurface environments, wear and tear, and rodents, underground cables contain a more range of problems. For Detecting the source of a fault is challenging since the entire line must be dug to look for defects in the cable line. Repairmen know which parts have problems, and only that area needs to be dug up to find the source of the problem. It also saves time and money by allowing subterranean cable lines to be maintained more quickly. Electrical cables in rural places go underground rather than over the headlines. When a fault arises in an underground cable, pinpointing the exact site of the defect and repairing it might be difficult.

One can approach an underground musician’s job or function as a succession of indescribable dog’s breakfasts, where poop occasionally competes with pee, where sleep and food are not always a given, where life on the road and car mechanics involve a particular connection with geography and punctuality. But the reader must remain alert and keep in mind that the anecdotes herein were carefully picked among several hundreds of other perfectly forgettable ones, in which the comfort of a nice bed goes along with a successful gig – to such an extent that the story becomes not even worth telling.Touring as a musician can also feel like going out on an enlightened escapade, like a form of anti-tourism, an expedition away from official circuits, in the fat of the map. Where one might also be wondering if the whole thing could only be a gloriously vain pursuit, behind the safe protection of a van windshield? A mere lateral journey, having a look elsewhere for the sheer sake of comparing how different it is to here?The underground can also let one believe in the encounter of some form of radical otherness, some kind of extra-capitalistic neo-exoticism. But along with physical rather than mental discomfort, one may realize that the margins that have for decades taken shelter in industrial wastelands, in trains, in hotels, in abandoned stores, and in so many temporary and transitional places – these margins have become an aesthetic form in its own right, a quasi-international standard, very much like a vacation village. And they also are a smoke-screen for galloping gentrification. Alternative creation is certainly political here, but it is also a blatant and obvious marker of segregation.Traduit par Stéphane Corcoral.

Treball Final de Grau en Comunicació Audiovisual. Modalitat A. Codi: CA0932. Curs acadèmic 2021-2022 Este Trabajo de Fin de Grado correspondiente a la modalidad C (elaboración de productos audiovisuales terminales) consiste en la preproducción, producción y postproducción de un videoclip. El material sonoro con el que se ha trabajado en este proyecto es Me vas a matar, una canción de 2 minutos y 48 segundos cuya autoría pertenece al vocalista del grupo Ataúdes Merche Carlos Bonet. Esta banda de origen castellonense mantiene un estilo que se enmarca dentro del género punk y se caracteriza por una determinada filosofía de creación musical, el DIY (hágalo usted mismo), la cual se refleja tanto en el resultado final del videoclip, con una estética imperfecta y nostálgica, así como en los apartados de desarrollo del proyecto. En relación a la imagen, cabe mencionar que durante el rodaje se emplearon dos modelos de cámara: Sony DCR-SX65E, una handycam, en pos de la estética de desgaste requerida, y la Sony Alpha 7 III, de una calidad más profesional. Asimismo, para el montaje y la corrección de color se ha recurrido al programa de edición de video Adobe Premiere Pro. This Final Degree Project corresponding to modality C (development of terminal audiovisual products) consists of the pre-production, production and post-production of a video clip. The sound material used in this project is Me vas a matar, a 2 minute and 48 second song written by the vocalist of the band Ataúdes Merche Carlos Bonet. This band from Castellón maintains a style that is framed within the punk genre and is characterised by a certain philosophy of musical creation, DIY (do it yourself), which is reflected both in the final result of the video clip, with an imperfect and nostalgic aesthetic, as well as in the development sections of the project. With regard to the image, it is worth mentioning that two camera models were used during the filming: Sony DCR-SX65E, a handycam, in pursuit of the required worn-out aesthetics, and the Sony Alpha 7 III, of a more professional quality. Adobe Premiere Pro video editing software was used for editing and colour correction.

Multiple seam interactions are a major source of ground instability in several U.S. coalfields. Empirical methods are well suited for this problem, because while the mechanics multiple seam interactions are very complex and poorly understood, many mining case histories are available for analysis. This study makes use of an updated database that includes 356 multiseam case histories, including 67 unsuccessful designs. The paper describes in detail the process used to design the study, collect the data, conduct the statistical analysis, and develop the quantitative model. The model can be used for mine planning in multiple seam situations, and has been made available as a module within the Analysis of Coal Pillar Stability (ACPS) computer program.

Introduction. Urban expansion and compaction of urban environments trigger the need for delay-free transport communications between urban districts. An underground railway is a modern means of transport, whose construction and operation are feasible below the ground surface. However, it is a source of vibrations that negatively affect human comfort and high-tech production processes. Train speed, weight, wheel and rail defects, the geological structure of the site, subway route construction conditions, the remoteness of measuring equipment installation points are the main factors that influence the intensity of vibrations of the ground surface or building structures. The effect, produced by moving subway trains on the tunnel lining, as well as the wheel-rail junction interface are analyzed in this work. Materials and methods. The problem of stresses, triggered by underground trains along the boundary of the tunnel lining, can be reduced to the well-known problem of a beam on an elastic foundation. MathCAD software package was used to obtain the analytical solution and diagrams. Results. The co-authors identified the values of stresses arising along the boundary of the tunnel lining as a result of the interface between underground trains and rail junctions. Diagrams that illustrate deflections of a bending curve of an infinite beam, bending moments, and stresses arising along the boundary of the tunnel lining have been made. Values of regular stresses arising along the tunnel boundary are obtained by transforming external loads into Fourier series. Conclusions. The data obtained as a result of the analysis are further used to solve problems of identifying the wave field in a continuous elastic medium using methods of successive wave approximations and compensating loads.

Challenging environments comprise a range of scenarios, which share the fact that it is extremely difficult to establish a communication link using conventional technology due to many impairments typically associated with the propagation medium and increased signal scattering. Specifically, underwater and underground media are known to absorb electromagnetic radiation, which heavily affects the overall path loss. Industrial and disaster environments can be viewed as rich scattering environments with corresponding substantial multipath propagation leading to intersymbol interference and deterioration of signal quality. Although the challenges for the design of communication networks, and specifically the Internet of Things (IoT), in such environments are known, there is no common enabler or solution for all these applications. Reconfigurable intelligent surfaces (RISs) have been introduced to improve the signal propagation characteristics by focusing the signal power in the preferred direction, thus making the communication environment 'smart'. While the usual application of RIS is related to blockage avoidance, the very same technique can be used to reduce the effect of multipath and even partially compensate the signal absorption via passive beamforming. Due to the beneficial properties of RIS, its use in challenging environments can become the aforementioned enabler and a game changing technology. In this paper, we discuss potential use cases, deployment strategies and design aspects for RIS devices in underwater IoT, underground IoT as well as Industry 4.0 and emergency networks. Furthermore, we provide a potential hardware architecture and derive the expected signal quality. The numerical results reveal substantial performance gains of up to 20 dB per decade. In addition, novel research challenges to be addressed in this context are described., 16 pages, 13 figures, published

The results of a comparative analysis of the story “Notes from the Underground” by F. M. Dostoevsky and the works of S. Beckett are presented in the article. It is shown how Beckett critically interprets the main novels of the Russian writer. The novelty of the work is seen in the fact that the problem of Beckett as the “heir” of Dostoevsky and his “Notes from the Underground” is considered in Russian literary criticism for almost the fi time. Based on the plays “Waiting for Godot”, “All that Fall”, the novel “Molloy” and the story “First Love”, the author demonstrates how Dostoevsky’s themes, motives and images are refracted in Beckett’s work. Particular attention is paid to the motive of “underground” love. A similarity was found between Dostoevsky’s story and Beckett’s works in spatial and temporal characteristics (uncertainty of the scene, nonlinearity of time, repetition of situations). It has been proven that these characteristics serve to designate a world without God, in which landmarks and goals are lost, positive and rational foundations are broken. It has been established that for Dostoevsky the Underground remains a “dark corner” behind which there is a “big world”, while for Beckett it fi the whole world.

The discovery of the renowned Lead Books and a series of supposed martyr's relics in a hill outside the walls of Granada in the last years of the XVII century was the last attempt of the morisco elite to ensure their permanence in the recently Christianized city. These findings, totally invented by this Islamic minority sector, did not give the expected result, but they served the Christian community to reformulate the image of their city, signifying it within the new counter-reformist context. From these facts, a series of cartographic etchings were made that tried to eloquently manifest the Christian excellence of the city. The aim of this paper is to articulate an original analytic description of five of these drawings. It will be possible to recognize that the composition and graphic coding strategies that were used in the making of the maps made them an optimal instrument for expressing the renewed sacred dimension of the city and its territory.DOI: https://doi.org/10.20365/disegnarecon.25.2020.15

The subsurface space in urban areas is an important asset. However, the information available on this environment is relatively poor compared to above ground information. This paper proposes a Building Information Model (BIM) for underground applications as means to address this information gap. The creation and progressive update of BIM for a constructed artefact ensures that data on the structures is available and can be used throughout its lifetime. A BIM for underground applications integrates data on surface structures, such as buildings, and subsurface infrastructures, such as pipes, along with details of the surrounding ground, the associated soil and rock properties and groundwater regime into a single framework. This approach is demonstrated by applying it to trenchless construction operations, including a microtunnelling project for a new sewer. The data from this extended BIM concept can be interactively used with analysis packages to conduct risk assessments for new construction activities. It also shows how BIM for the Underground can be used throughout the planning, construction and post-construction stages of a project, and, importantly, how this information can be available for future projects.

Citation suggérée : Anses. (2022). Qualité de l’air ambiant des enceintes ferroviaires souterraines (EFS). État des connaissances sur la toxicité des particules et sur les effets sanitaires associés à la pollution de l’air des EFS. Recommandation de concentrations en particules dans l’air des EFS à ne pas dépasser. (saisine 2019-SA-0148). Maisons-Alfort : Anses, 181 p.; La qualité de l’air intérieur des enceintes ferroviaires souterraines (EFS) où circulent les trains de voyageurs (« métros ») n’est pas réglementée contrairement à d’autres établissements recevant du public (ERP). Depuis 2000, plusieurs avis visant à améliorer la qualité de l’air pour les usagers des transports dans les EFS ont été rendus par le Conseil Supérieur d’Hygiène Publique de France (CSHPF). Le CSHPF recommandait entre autres des valeurs guides de qualité de l’air dans les EFS pour les PM10 dans son avis du 3 mai 2001.Depuis le début des années 2000, les mesures de la qualité de l’air dans des EFS en France ont mis en évidence des concentrations massiques en particules (PM10, PM2,5) très supérieures à celles mesurées à l’extérieur en fond urbain. Les principales sources de ces concentrations élevées sont l’usure des matériaux due au freinage des rames et aux contacts entre le matériel roulant et la voie ferrée, et la remise en suspension du fait de la circulation des rames. La composition de ces particules en suspension diffère cependant des particules de l’air urbain extérieur, avec une teneur élevée en éléments métalliques dont le fer qui est un constituant majeur, et la présence importante également de carbone élémentaire et de carbone organique. Ces particules sont plus grosses, plus denses et de forme plus variable (en écaille, ellipsoïdales, semi-sphériques ou sphériques). A l’échelle mondiale, le niveau moyen de pollution aux particules des métros semble être plus élevé en Europe (W. Zhang et al. 2019). D’autres polluants chimiques, présents à des concentrations parfois supérieures à celles mesurées en fond urbain, ont été identifiés tels que des hydrocarbures aromatiques (toluène, phénanthrène, fluoranthène, anthracène et pyrène), et plus rarement le benzène, le dioxyde d’azote et le benzo(a)pyrène. En comparaison avec l’air au sein du trafic routier, l’air des EFS (hors périodes de travaux de maintenance) est moins chargé en nombre de particules, en carbone suie et en gaz comme le monoxyde de carbone, le dioxyde d’azote, le benzène, le toluène et le formaldéhyde (ANSES 2015). L’exposition aux fibres amiante, aux fibres minérales artificielles, à la silice cristalline ainsi qu’aux bioaérosols (champignons, virus, bactéries) est moins documentée et n’a donc pas pu être évaluée par l’agence aussi précisément que pour les polluants précités (Anses, 2015).La connaissance de la toxicité des particules en suspension dans les EFS apparaît bien plus limitée que pour les particules de la pollution atmosphérique urbaine. Ces dernières ont en effet fait l’objet de nombreuses études épidémiologiques et expérimentales qui font état d’effets délétères sur la santé notamment au niveau respiratoire et cardiovasculaire. Bien qu’ils soient peu documentés, leseffets potentiels des particules en suspension dans les EFS ont été investigués dans quelques études épidémiologiques et expérimentales, et au travers de revues de la littérature comme celle réalisée précédemment par l’Anses (ANSES 2015). Sur le plan épidémiologique, le peu de données disponibles relatives à l’exposition des travailleurs en EFS ne permettait pas de statuer sur lesrisques à long terme ni sur les risques cumulés avec d’autres expositions professionnelles. Les quelques études transversales et cas-croisés ne mettaient pas en évidence d’effets importants à très court terme sur la fonction ventilatoire, la santé respiratoire et cardiovasculaire. Aucun excès de risque de cancer broncho-pulmonaire ni d’infarctus du myocarde n’avait été mis en évidence pourchacun de ces deux effets sur la base d’une seule étude, présentant des risques importants de biais de confusion et de classement de l’exposition. Les données disponibles sur la toxicité des particules de l’air des EFS étaient très limitées et portaient uniquement sur des effets à court terme. Les données expérimentales in vitro montraient un stress oxydant, une cytotoxicité et une génotoxicité élevés des particules des EFS par rapport à la toxicité des particules de l’air extérieur ou des particules Diesel. Les données disponibles chez l’Homme et chez l’animal in vivo suggéraient une toxicité accrue des particules des EFS en termes d’inflammation systémique et respiratoire. Une seule étude à très forte dose chez le rat a recherché et a montré une persistance de l’inflammation respiratoire 60 jours après instillation. A l’inverse, les données disponibles suggéraient des effets moindres sur la fonction ventilatoire par rapport à des indicateurs de pollution urbaine extérieure (PNC, NOx et NO2). Communément, les effets observés étaient interprétés par la forte teneur en métaux des particules soulignant une contribution plus ou moins partielle du fer. Les contributions respectives de la fraction soluble et non soluble restaient à préciser. De plus quelques études suggèraient un rôle de la fraction carbonée, élémentaire et organique.Ces dernières années, la connaissance des caractéristiques physiques et chimiques des polluants de l’air dans les EFS a progressé. Dans le même temps, la fréquentation des EFS, qui représente environ 5 millions de voyageurs par jour pour le réseau francilien (un des réseaux les plus fréquentés au monde), est en constante et sensible augmentation (+ 4,5 % de 2013 à 2018 pour l’Ile-de-France). Cependant, face à la situation de pollution dans les EFS et à l’augmentation de la fréquentation des EFS, presqu’ aucune ville à travers le monde ne met en œuvre de mesures concrètes de gouvernance pour lutter contre cette pollution (W. Zhang et al. 2019). Par ailleurs, pour les régies de transport ferroviaire comme pour les autorités publiques, la sécurité et l’opérationnalité économique du bien-être public (réduction de la pollution dans les EFS mais aussi report des modes de transport individuels à combustion interne et plus polluants vers le transport collectif et ferroviaire moins polluant, facilitation des déplacements, etc.) restent le premier objectif. Enfin, étant donné que la gouvernance de la lutte de la pollution de l'air dans les EFS implique entre autres les autorités publiques, les régies de transport ferroviaire (et autres entreprises exploitant les EFS), les usagers du transport3 et les employeurs , la différence de perception des coûts et de la pollution environnementale entre les parties prenantes peut conduire à une dynamique d’intérêts multiples. Afin de contribuer à une gouvernance efficace de lutte contre la pollution de l’air des EFS, des standards de la qualité de l’air pour les EFS pourraient être progressivement promulgués. Une feuille de route et des cibles pour la conformité de la qualité de l’air dans les EFS pourraient être établies afin de guider les opérateurs des EFS et autres parties prenantes pour trouver des solutions dont le rapport coût-efficacité satisfasse à des objectifs réglementaires qui seraient fixés par les autorités.Depuis 2013, un plan d’actions a été mis en œuvre par le gouvernement français pour l’amélioration de la qualité de l’air intérieur, intégré au 3ème plan national santé-environnement, qui prévoit notamment l’amélioration de la surveillance de la pollution de l’air dans les enceintes ferroviaires souterraines.Dans ce cadre, l’INERIS a produit un guide fournissant des recommandations pour la réalisation de mesures harmonisées de la qualité de l’air dans les enceintes ferroviaires souterraines (INERIS 2020). L’expérimentation du protocole dans différentes stations du territoire national s’est tenue courant 2019.En complément de cette action, la DGS, la DGTIM et la DGPR ont saisi l’Anses le 30 août 2019 afin d’évaluer la pertinence et la faisabilité d’établir une ou des valeurs guides de qualité de l’air intérieur (VGAI) spécifique(s) à l’exposition des usagers dans le EFS, et d’élaborer de telles valeurs le cas échéant.

In response to the seasonally changing environment, mammals have developed a number of strategies that allow them to adapt to and avoid unfavourable weather conditions, along with the food shortages they often bring. In both cases, the selection of an appropriate shelter allows them to reduce their energy expenditure and to diminish the risk of suffering predation. Underground habitats, both natural (cave) and artificial (tunnels, bunkers, mines, cellars), differ in morphology (depth, length), substrate type and their connectivity with the exterior. In each underground shelter, zones can be distinguished as differing in light, humidity, and temperature that cause microclimate differentiation and determine potential habitat quality. Edible Dormice are considered a thermophilic species that prefers warm daily shelters during their active period. However, information from people exploring underground in both natural and artificial sites, indicates that this species is very common there. Here, we analyzed the data available from scientific and popular journals, speleological periodicals, website resources (such as iNaturalist), speleological websites, and personal contacts. Each find was characterized by the underground parameters: length, depth, location, and average yearly temperature. We identified more than 150 underground shelters, with morphological and thermal diversity, inhabited by this species across its range. These results indicate that underground, despite being a challenging environment, is potentially an important refuge for this arboreal species even during its active period.

El Derecho minero y petrolero colombiano es un ordenamiento especial, formado a lo largo de centurias a partir de la confluencia de dos grandes categorías implantadas por España durante el periodo colonial: la patrimonialidad, esto es, la existencia de una suerte de derecho de propiedad del Estado en relación con el subsuelo y los recursos naturales no renovables, y el regalismo, entendido como la participación de la organización política en los beneficios económicos derivados de la explotación de dichos bienes. Este régimen, objeto de importantes pendencias en los últimos anos a raíz de los reclamos sociales en torno a la participación comunitaria en los beneficios de la explotación de la riqueza de la tierra, sus impactos ambientales y las facultades de las municipalidades en su regulación, entre otros tópicos, amerita, además de los estudios dogmáticos que escudriñan el sentido de sus disposiciones y las aproximaciones socio-económicas que indagan por los efectos de dicha estructura formal, una revisión historico-juridica que ayude a entender el punto de partida que ha marcado en cierta medida el sendero institucional seguido en esta materia. El presente escrito, entonces, pretende brindar algunas herramientas que ayuden a entender los orígenes y consiguiente evolución de muchas de las figuras características del Derecho minero y petrolero colombiano en el entendido de que tal perspectiva puede ayudar a entender las causas de parte de la arquitectura conferida a tal ordenamiento en los años sucesivos a la expedición de la Constitución Política de 1991 y a vislumbrar, por tanto, las fuentes más remotas de algunas de las controversias que hoy ocupan la atención política nacional. En este orden de ideas, la premisa fundamental del presente escrito es que el actual Derecho minero y petrolero colombiano resulta ser la síntesis de gran cantidad de elementos políticos, normativos y económicos tan antiguos como complejos, cuya génesis se encuentra en la España bajomedieval y que han sido moldeados por la historia institucional colombiana hasta adquirir identidad propia. Colombian mining and oil law is derived from a special order, formed over centuries from the confluence of two major categories implemented by Spain during the colonial period: patrimoniality, that is, the existence of a kind of State property right in relation to the subsoil and non-renewable natural resources, and royalties entitlement, understood as the participation of the political organization in the economic benefits derived from the exploitation of such assets, among other topics. This regime has been object of important disputes in the last years as a result of the social claims and the involvement of communities around the participation in the benefits of the exploitation of the land wealth, its environmental impacts and the faculties the municipalities have in its regulation. Therefore, this demands, besides the dogmatic studies ordered to scrutinize the sense of its dispositions and the socio-economic approaches that investigate the effects of such formal structure, a historical-legal review that helps to understand the starting point that has marked to some extent the institutional path followed in this matter. This paper, then, aims to provide some tools to help understand the origins and the subsequent evolution of many of the characteristic figures of Colombian mining and oil law, in the understanding that such perspective can help to understand the causes of parts of the architecture conferred on such a system in the years following the expedition of the Political Constitution of 1991 and to glimpse, therefore, the most remote sources of some of the controversies that today occupy the national political attention. In this order of ideas, the fundamental premise of the present document is that the current Colombian mining and oil law turns out to be the synthesis of a great number of political, normative and economic elements as old and complex, whose genesis is found in low-medieval Spain and which have been shaped by Colombian institutional history until they acquired their own identity.

In the mid-1980s, Porto began to open to the cultural, musical, and aesthetic change announced by (post)-modernism. Resistance - and the search for the new - also began to make itself felt through radio programmes, fanzines, concerts, and bulletins. Important was the motto "for the right to difference”[1]. In these movements, besides some musicians, certain authors/publishers stood out. António da Silva Oliveira (A. Dasilva O., 1958) was a central figure. He published, assisted in publishing, and promoted projects in the most diverse areas of cultural intervention. Through A. Dasilva O.'s underground ‘cursed’ trajectory, we will trace a portrait of the Portuguese society in its transition to contemporaneity where the arts, music and their subversions played a central role. [1] Eternalized expression to the radio microphones by António Sérgio in the radio program "Som da Frente" in 1982.

This article reconstructs, from a transnational and cultural history, the way in which Boston and Buenos Aires early introduced a system of underground railway for urban public transport which was invented and applied originally in London (1863), becoming Boston the first in the Americas (1897) and Buenos Aires (1913) the first in South America with this transport system. It observes how ideas, capital, expert, technologies of transport circulate between Europe and the Americas. How material, political, and cultural aspects shaped urban infrastructures is also explored. Moreover, it discusses the contribution of the historical perspective to analyse the global circulation of infrastructures and its territorialization in cities between late 19th century and the beginning of the 20th century.

This is the second of a pair of articles addressing the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. The first article considered the similarities between the two texts, using David Magarshack’s 1968 English translation of the Notes, before discussing the wider phenomenon of Hamletism in nineteenth-century Russia. In this article, the author focuses on the problem of translation, identifying a handful of instances in the Magarshack translation that directly ‘insert’ Shakespeare, and Hamlet in particular, into Dostoevsky’s text. It is argued that these allusions or citations overdetermine the English reader’s experience of Shakespeare-and-Dostoevsky, or Shakespeare-in-Dostoevsky. Returning to the question of Shakespeare’s status in Europe in the nineteenth century, the article concludes with a critique of Shakespearean ‘universality’ as it manifests through the nuances of translation.

In numerous collected source materials from the 1950s, it is necessary to distinguish texts created in the works of authors persecuted by the communist regime e.g. Catholic writers and those related to popular movement, from the authors deliberately abandoning official circulation e.g. supporters of the concept of total realism, embarrassing poetry and collage of various literary genres. Activities of the opposition in the second half of the 1950s resulted in the first attempts of culture liberalization. At that time literature has influenced film and theater opening up the way to the Prague Spring in the late 1960s. V četných pramenech z 50. let je třeba rozlišovat texty vzniklé v rámci tvorby autorů pronásledovaných komunistickým režimem, například katolických spisovatelů a těch, kteří měli blízko k lidovému hnutí, od autorů záměrně opouštějících oficiální oběh, například příznivců konceptu totálního realismu, trapné poezie a směsi různých literárních žánrů. Aktivity opozice vedly ve druhé polovině 50. let k prvním pokusům o liberalizaci kultury. Literatura byla tehdy ovlivněna filmem a divadlem, které otevřely cestu k tzv. Pražskému jaru na konci 60. let.

Se pretende hacer un viaje en el tiempo a los montes de Valparaíso, un territorio extramuros de la Granada de finales del siglo XVI, para recorrer un paisaje de fuerte naturaleza onírica marcado por el aspecto enigmático del terreno, por las aguas milagrosas que recorren sus entrañas y por inexplicables manifestaciones lumínicas. Un espacio periférico que sirvió de escenario para el descubrimiento subterráneo en 1595 de los famosos Libros Plúmbeos y las supuestas reliquias martiriales de san Cecilio y sus discípulos y que, en virtud de los mismos, se convirtió en Sacromonte. Como guías en este viaje se utilizan las obras literarias que en su momento con más precisión describieron el lugar en el que se produjeron los hallazgos. Se presume que, a pesar de que la imagen simbólica que se desprende de ellas responde fielmente a los ideales contrarreformistas de la iglesia local, se puede establecer una identificación casi directa con la imagen real de estos parajes extramuros, que llegan casi intactos hasta nuestro tiempo., The aim is to take a journey through time to the hills of Valparaíso, a territory outside the walls of Granada at the end of the 16th century, to go round a landscape of a strongly oneiric nature marked by the enigmatic aspect of the terrain, by the miraculous waters that run through its entrails and by inexplicable light appearances. A peripheral space that served as the setting for the underground discovery in 1595 of the famous Lead Books and the supposed martyrdom relics of Saint Caecilius and his disciples and which, by virtue of them, became Sacromonte. The literary works that at the time most accurately described the place where the finds took place are used as guides on this journey. It is presumed that, although the symbolic image that emerges from them corresponds faithfully to the counter-reformist ideals of the local Church, an almost direct identification can be established with the real image of these places outside the walls, which have survived almost intact to the present day., Grupo de Investigación HUM813 Arquitectura y Cultura Contemporánea

On observe la permanence d’un modèle de pensée politique dans les récits de Verne, qui ne lui est pas totalement propre, mais auquel il tient particulièrement et qui lui permet d’interroger ou de mettre en scène certaines conceptions politiques. Cela s’exprime dans plusieurs romans par le motif du « double fond », qui sert de matrice à des rêveries sur les promesses et les menaces du nouvel âge démocratique où domine « l’homme d’en bas »., We observe the endurance of a model of political thought in Verne’s stories, which is not entirely his own, but to which he is particularly attached, and which allows him to question or represent certain political notions. This is expressed in several novels through the motif of the “ false bottom,” which serves as a matrix for reveries on the promises and threats of the new democratic age where “the man from below” dominates.