Autorka przedstawia w tekście poszukiwania tożsamościowe osób i rodzin przesiedlonych po II wojnie światowej z Wileńszczyzny do Gdańska w kontekście integracji społeczności miejskiej. Gdańsk jako miasto, którego ludność po wojnie uległa niemal całkowitej wymianie, staje się w tym ujęciu swoistym laboratorium procesów społecznej integracji. Tekst ma charakter wprowadzający do tematu, bazuje na wynikach pilotażowych badań jakościowych przeprowadzonych w ramach koordynowanego przez prof. Maria Mendel projektu „Wspólny pokój Gdańsk” (2013–2015). Przedstawione analizy stają się przyczynkiem do refleksji nad tożsamościowymi uwarunkowaniami procesów integracji w ramach społeczności miejskiej, również w odniesieniu do współczesności. Omawiając kwestie tożsamości, autorka zwraca uwagę na znaczenie cezury czasowej, jaką był koniec II wojny światowej, oraz na doświadczenia ekspatriacji w kontekście przestrzennym i społeczno-kulturowym.

Laser triangulation is one of the machine vision measurement methods most commonly used in 3D quality control. However, considering its susceptibility to interference, it cannot be used in certain areas of industrial production e.g. very shiny surfaces. Thus, for the improvement of its applicability, a predictive algorithm of light profile segmentation was designed, where - as a result of using a'priori knowledge - the method becomes resistant to secondary reflexes.

The developed technique has been tested on selected parts with surfaces typical for the machine-building industry. The evaluation has been presented based on the surface representation (mapping) error analysis, using the difference between the obtained cloud of points and the nominal surface as processing data, as well as scatter of the discrete Gauss curvature.

Prawda i przejrzystość w zakresie bezpieczeństwa szczepień – niepożądane odczyny poszczepienne i ich rejestracja

The subject of this article is the architecture of sacral buildings so far classified by scholars as one group of buildings (“the Tarłów group”) with similar stylistic features, designed by an anonymous architect. A critical analysis of the current research material allows us to limit their numbers to the parish church in Gołąb (1626–1634), the collegiate church in Klimontów (1643–1650), the parish churches in Tarłów (before 1647) and Jedlińsk (before 1645), and the Rosary Chapel (c. 1642–1650) at the parish church in Kazimierz Dolny. The church in Tarłów with its arrangement of vaults and lunettes seems to be reliant on the leading sacral architectural designs created in the first half of the 17th century in Northern Italy and the Kingdom of Bohemia. Its colonnaded façade, which was the first of its kind in Central Europe, repeated at least on the first floor the unrealized designs of the façade of the church of SS. Ambrogio e Carlo al Corso in Rome, designed by Onorio Longhi and Martino Longhi the Elder. On the other hand, in the case of the side chapels of the church in Jedlińsk and the Rosary Chapel, their columnar articulation refers to the completed or unrealized projects by leading late 16thand early 17th-century Italian architects such as Ottaviano Mascarino, Giovanni Maria Ricchini, Francesco da Volterra and Carlo Maderno. The system of vaults in the Klimontów collegiate church and the Tarłów church recalls the churches of Our Lady of Victory in Prague (1611–1613), St. James in Jičín (after 1628), and the Church of the Assumption of the Virgin Mary in Stará Boleslav (1620s–1630s). The eclecticism of the spatial arrangement of the buildings and the staging of the façades and interiors prove a good knowledge of early modern Italian architecture. In the absence of archival sources, it is at present difficult to identify their architect. However, the builders of these structures were guild craftsmen operating in the former Sandomierz and Lublin provinces. An analysis of their working methods links the Tarłów church to the mason Lorenzo Senes, the builder of the collegiate church in Klimontów and the Krzyżtopór castle in Ujazd (1621–1644). In Tarłów and Kazimierz Dolny, Senes cooperated with the still anonymous Master of Tarłów, the author of stucco and terracotta decorations.