20 research outputs found
Dataset of "Acoustic Response of Patchy-Saturated Porous Media: Coupling Biot's Poroelasticity Equations for Mono- and Bi-Phasic Pore Fluids"
No full text<p>This dataset supports the research study "<em><span>Acoustic Response of Patchy-Saturated Porous Media: Coupling Biot's Poroelasticity Equations for Mono- and Bi-Phasic Pore Fluids"</span></em> by S. G. Solazzi, G. A. Castromán, N. D. Barbosa, K. Holliger, and J. G. Rubino.</p>
<p>We provide with commented Python codes for estimating the frequency-dependent attenuation and phase velocity dispersion in patchy saturated media combining Biot's equations for mono- and bi-phasic pore fluids. The codes to reproduce all the figures of the article can be found in the corresponding folders.</p>
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<p>In doubt, contact the corresponding author at: [email protected]</p>
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Squirt flow in partially saturated cracks: a simple analytical model
No full textThis is a pre-copyedited, author-produced PDF of an article published in Geophysical Journal International following peer review. The version of record ``Santiago G Solazzi, Simón Lissa, J Germán Rubino, Klaus Holliger, Squirt flow in partially saturated cracks: a simple analytical model, Geophysical Journal International, Volume 227, Issue 1, October 2021, Pages 680–692’ is available online at: https://doi.org/10.1093/gji/ggab249
Can we use seismic reflection data to infer the interconnectivity of fracture networks?
No full textThis is a pre-copyedited, author-produced PDF of an article published in Geophysical Journal International following peer review. The version of record “Rubino, J. G., Barbosa, N. D., Hunziker, J., & Holliger, K. (2022). Can we use seismic reflection data to infer the interconnectivity of fracture networks?. Geophysical Journal International, 231(2), 996-1010” can be found at: https://doi.org/10.1093/gji/ggac23
Engagements créatifs. Luciano Berio, Heinz Holliger et la Sequenza VII pour hautbois
No full textInternational audienceIs the music performer only the humble transmission belt of a sound expression determined once and for all, in the past, by the composer’s solitary writing of the score? Musicology has firmly answered this question negatively since the end of the20th century by largely reassessing the forms of creativity inherent to performers and rejection the notion that the scorecould guarantee a clear and permanent meaning. But what is the creative contribution of the performer when he/she is directly involved in the creative process itself? The genesis of Sequenza VII for oboe (1969) by Luciano Berio provides a fewanswers, because its collaborative aspect is thoroughly documented, mainly by the correspondence between Berio and theoboist Heinz Holliger (held at the Paul Sacher Foundation in Basel). Holliger was the instigator of the project of the work, itssponsor, its advisor (for the use of the mechanical specificities of his instrument), his first reader and performer, the author ofthe preface, and proofreader (up to the proofing stage of the version printed by Universal Edition) and principal performer inthe concert and on the record. The modalities of this collaboration and their incidences on our comprehension of the work (and more generally the processes of musical creation) are discussed on the grounds of the different available archives, as well as an unpublished conversation with the oboist.¿El músico intérprete no es más que una modesta correa de transmisión de una expresión sonora determinada de una vez para siempre, en el pasado, por el trabajo solitario de confección de la partitura por parte del compositor? La musicología ha respondido a este interrogante de manera terminantemente negativa, a partir de finales del siglo XX, reevaluando considerablemente las formas de creatividad propias de los intérpretes y dinamitando la idea de que la partitura representaría la garantía de un sentido no ambiguo y eternamente estable. ¿Pero cuál es la contribución creativa delintérprete cuando se encuentra directamente implicado en el proceso de creación? La génesis de la Sequenza VII para oboe(1969) de Luciano Berio permite formular algunas respuestas, ya que su dimensión colaborativa está bien documentada, principalmente por la correspondencia entre Berio y el oboísta Heinz Holliger (conservada en la Fundación Paul Sacher, Basilea). Holliger ha sido el iniciador del proyecto de la obra, su patrocinador, su consejero (en lo que respecta la utilización de las especificidades técnicas de su instrumento), su primer lector e intérprete, su prologuista, su relector (hasta la etapa de las pruebas de la versión impresa por Universal Edition), y su principal intérprete tanto en conciertos como en disco. Las modalidades de esta colaboración y sus incidencias en nuestra comprensión de la obra (y, más generalmente, de los procesos de creación musical) son considerados sobre la base de los distintos archivos disponibles y de una entrevista inédita con el intérprete.Le musicien interprète n’est-il que l’humble courroie de transmission d’une expression sonore déterminée une fois pour toutes, dans le passé, par le travail solitaire de confection de la partition par le compositeur ? La musicologie a répondu fermement par la négative depuis la fin du xxe siècle en réévaluant considérablement les formes de créativité propres aux interprètes et en cassant l’idée que la partition serait garante d’un sens non ambigu et éternellement stable. Mais quelle est la contribution créative de l’interprète lorsque celui-ci est directement impliqué dans le processus de création ? La genèse de la Sequenza VII pour hautbois (1969) de Luciano Berio permet de donner quelques réponses, car sa dimensioncollaborative est bien documentée, principalement par la correspondance entre Berio et le hautboïste Heinz Holliger(conservée à la Fondation Paul Sacher, Bâle). Holliger a été l’initiateur du projet d’oeuvre, son commanditaire, son conseiller (pour l’utilisation des spécificités techniques de son instrument), son premier lecteur et interprète, son préfacier, son relecteur (jusqu’à l’étape des épreuves de la version imprimée par Universal Edition), et son principal interprète au concert comme au disque. Les modalités de cette collaboration et leurs incidences sur notre compréhension de l’oeuvre (et plus généralement des processus de création musicale) sont discutées sur la base des différentes archives disponiblesainsi que d’un entretien inédit avec l’interprète.Será o intérprete musical uma simples correia de transmissão da expressão sonora que ficou determinada de uma vez por todas, no passado, pelo trabalho solitário do compositor, no confeccionar da partitura? A musicologia responde firmemente que não desde o final do século XX, ao valorizar as formas de criatividade próprias dos intérpretes e recusando a ideia de que a partitura é garante de um sentido sem ambiguidade e eternamente estável. Mas como se manifesta o contributo criativo do intérprete, quando ele se acha diretamente implicado no processo de criação? A génese da Sequenza VIIpara oboé (1969), de Luciano Berio, fornece algumas respostas, pois a sua dimensão colaborativa está bem documentada pela correspondência entre Berio e o oboísta Heinz Holliger (preservada na Fundação Paul Sacher, Basileia). Holliger esteve na origem do projeto do trabalho, que encomendou ; foi ainda consultor para especificidades técnicas do seu instrumento, seu primeiro leitor e intérprete, prefaciador, revisor (até à fase das provas da versão impressa por Universal Edition) e seu principal executante, tanto em concerto como em disco. As modalidades desta cooperação e as suas implicações para a nossa compreensão da obra (e em geral dos processos de criação musical) são discutidas com base nos vários arquivos disponíveis e em uma entrevista inédita com o intérprete
Ray-based image reconstruction in controlled-source seismology with an application to seismic reflection and refraction data in the Central Swiss Alps
No full textExtracting mud invasion information using borehole radar-a numerical study
No full textIn hydrocarbon drilling, mud filtrate penetrates permeable formations, and alters the pore fluid characteristics in the immediate vicinity of the borehole. Typically, the prevailing in-situ pore fluids are displaced by the invading mud filtrate, which leads to gradually changing distributions of the fluid and electrical properties. Understanding this invasion process is crucial for the interpretation of logging data and associated reservoir evaluations. Conventional logging methods tend to be inadequate for this purpose as their resolution is too low. We show that invasion depth can be determined from borehole radar data using an optimized antenna configuration and time-lapse measurement mode. A series of parametric sensitivity analyses provide information about the effects of variations of the rock and fluid properties on the identification and extraction of borehole radar signals reflected from the invasion front. Our results suggest that by embedding the radar antennas in cavities filled with an absorbing dielectric material, it is possible to minimize the interference arising from the metal components of the logging tool. In the simulated reservoir scenario, a time-lapse measurement mode with a time interval of at least 6 hours can reliably extract the radar signals reflected from the invasion front, and the proposed borehole radar has a lateral detection range from 0.15 to 1 m. A comprehensive range of parametric sensitivity analyses indicate that the signals reflected from the invasion front are principally influenced by oil viscosity, porosity, and mud and formation water salinity, as well as by molecular diffusion coefficient and cementation exponent. These properties and parameters should be carefully explored and assessed when applying borehole radar to evaluate mud invasion information in a reservoir environment
Borehole radar response of a mud-invaded oil-bearing layer
No full textApplied Geophysics and Petrophysic
Analysis of poroelastic effects on the compliance matrix of a single fracture
No full textGeoscience & EngineeringCivil Engineering and Geoscience
Bayesian full-waveform inversion of tube waves to estimate fracture aperture and compliance
No full textThe hydraulic and mechanical characterization of fractures is crucial for a wide range of pertinent applications, such as geothermal energy production, hydrocarbon exploration, <span classCombining double low line"inline-formula">CO2</span> sequestration, and nuclear waste disposal. Direct hydraulic and mechanical testing of individual fractures along boreholes does, however, tend to be slow and cumbersome. To alleviate this problem, we propose to estimate the effective hydraulic aperture and the mechanical compliance of isolated fractures intersecting a borehole through a Bayesian Markov chain Monte Carlo (MCMC) inversion of full-waveform tube-wave data recorded in a vertical seismic profiling (VSP) setting. The solution of the corresponding forward problem is based on a recently developed semi-Analytical solution. This inversion approach has been tested for and verified on a wide range of synthetic scenarios. Here, we present the results of its application to observed hydrophone VSP data acquired along a borehole in the underground Grimsel Test Site in the central Swiss Alps. While the results are consistent with the corresponding evidence from televiewer data and exemplarily illustrate the advantages of using a computationally expensive stochastic, instead of a deterministic inversion approach, they also reveal the inherent limitation of the underlying semi-Analytical forward solver..Applied Geophysics and Petrophysic
