Urrival—Prządki Geopoems
Radek Przedpełski
[RU/ENG]
1. The Spinning Women [Prządki] rocks—geocharacteristics
The Spinning Women [Prządki]
formed out of difference
in the resistance of rock sediments
to denudation processes
coarse-grained Ciężkowice sandstones
with a large thickness
Lower Eocene
55 – 35 million years ago
(Tertiary)
sit on the southern limb of the Czarnorzeki–Węglówka Fold
within the eastern part of the Silesian Nappe
Outer Carpathians
monadnocks
with cellular and arcade structures
small irregular depressions on the surface
resulting from the different resistance of the binder
to chemical and mechanical weathering
inhabit a strip about 1 km long and 100-300 m wide along the ridge plateau with a latitudinal course
encounter weathering processes
2. The Spinning Women [Prządki] rocks—geohistory
Sedimentation of the Ciężkowice Sandstones began at the end of the Paleocene and continued through the Lower Eocene. The crumb material was spread over the bottom mainly in dense suspension currents moving under the influence of gravity and inertia. The accumulation of material resulted in the formation of flysch, i.e. a group of sedimentary rocks formed in a deep sea basin, which forms today’s Carpathian rocks.
In the Alpine orogenesis, under the pressure of orogenetic forces, the sediments accumulated over millions of years were uplifted and folded. The effects of these processes are visible in the form of rock layers falling south at an angle of 45° – 50 °.
The exposed rocks were subjected to denudation and geomorphic factors. The erosive activity of the wind as well as frost processes led to the formation of various forms of weathering, e.g. mushroom rocks.
Selection of texts by Jerzy Ludwiński (1930-2000)
1. Art (…) is the opposite case when compared to geology. In the latter, that which is older is lodged more deeply; with art, it is – at least on the surface – the same case; however, one difference here is that the most creative phenomena, those most visionary and penetrating but least trendy and commercial, tend to descend underground (…)
The mountain of art accretes into its depth and towards its middle. This is why an archaeology of art is completely different. One has to pierce through clamour, until complete silence, and only then we will be able to comprehend less.
2. the mountain radiates
sends signals ⟶ around the mountain
the difficulty of reading ⟵ zone of imagination
tunnel
Jerzy Ludwiński, “Góra”, 1. czerwca 1982, konspekt, fragment3. One of Soviet biologists, already in the 1930s, made an extraordinary discovery by sheer chance. When a spilled hydrochloric acid burnt down a living branch on a plate of specially prepared substance, a flash of light suddenly appeared. Only in recent years have scientists returned to this strange phenomenon with full commitment. It is well known that all living creatures send into space evenly distributed light. But at the time of death, the light takes the form of an explosion. It is people that emit the most of light. Maybe it is their perfect way of communicating, better than speech, a language still undeciphered? Perhaps only in this language can one say all that which is the most important, especially when one crosses the line between life and death.
. . .
This road resembles a tectonic form that runs across the California desert parallel to the Pacific shore, known as the San Andreas Fault. It is the junction of two large tectonic plates, one of which extends under the American continent, the other – under the Pacific. An attempt to communicate between these two worlds could result in a cataclysm, the greatest in the history of the Earth.
. . .
The mountain is infinitely far away and gradually turns into its own glow. It is a mountain made of light, a mountain that is dying, or a holy mountain.
. . .
Some people have the ability to move objects over a distance. Science cannot explain this phenomenon.
