Untitled Bertaud, Emmanuelle
International journal of art therapy,
09/2023, Letnik:
28, Številka:
3
Journal Article
Recenzirano
A landscape came into being as certain colours/textures attacked my eyes and created a synergy when juxtaposed. I selected and cut out elements from my photographs and from magazines dating from ...1940s-1970s.
The architecture and mechanics of an orogen can be understood in terms of a system of collages that are characterized by a complex assemblage of multiple components, but the fundamental ...paleogeographic framework and the tectonic relationships between the different components are often insufficiently defined, because of unavailable data. The Central Asian Orogenic Belt (CAOB) provides an ideal opportunity to address the fundamental framework of paleogeography and tectonic relationships between the diverse and many components in this huge collage. In this paper we review several lines of available evidence, which enable us to propose a new tectonic model of huge roll-back in the formation of the accretionary tectonics of the Mongolian collage in Central Asia. In the early Paleozoic the Mongolia collage comprised the southern Siberian and the Tuva-Mongol Oroclines. The Siberia Craton and the Mongolia collage jointly formed a giant “tadpole-shape” within the Paleo-Asian and Panthanlassic oceans; its head (Siberia) was to the south, and the tail (Tuva-Mongol) to the northwest. The structures and tectonic zonation of the Mongolia collage are characteristic of multiple arcs, which have been separately described in detail in different segments southwards from the Southern Siberia-East Sayan, West Sayan-Gorny Altai-Chara, via the Lake Zone-Junggar-Tianshan, Gobi Altai-Beishan-Alxa, to the Manlay-Hegenshan-Baolidao-Solonker segments. Almost all segments underwent Early Paleozoic to Permian, or even Triassic, frontal subduction and accretion, while rifting in the Late Carboniferous to Permian or Triassic occurred in the outward/oceanward (westward) advancing Mongolian collage. Therefore, we suggest that a huge complex roll-back, active from the Carboniferous to Permian or even to late Triassic, facilitated the formation of the Mongolian collage. The outward multiple roll-back process was compatible and almost coeval with the start of the Tuva-Mongol Orocline and rotation of the Siberian Craton, as confirmed by paleomagnetic and structural data. During the roll-back processes an archipelago paleogeography was formed behind the frontal subduction and accretion, in which independent arcs or terranes were amalgamated or collided to form composite arcs or terranes either simultaneously or at slightly different times. The roll-back process was affected by the collision of the Kazakhstan collage along the Chara and Karamay zones in the Early Permian, the collision of the Tarim Craton along the South Tianshan zone in the Early Permian, the collision of the Dunhuang Block along the Liuyuan zone in the Early Permian-Triassic, the collision of the Alxa block along the Qugan Qulu zone in the Permian, and the collision of the North China Craton along the Solonker zone in the Middle-Late Triassic. The tectonic styles and architecture of accretionary orogenic belts like the CAOB are characterized both by the amalgamation of multiple terranes and by oroclinal bending. The systematic anatomy of the multiple roll-back processes and their interactions with the adjacent collages shed light on the evolving orogenic architecture and the crustal accretionary history of orogens.
La descripción de la obra de Josep Maria Jujol ha suscitado diversidad de opiniones, sin embargo, hay un término que aparece repetidamente por parte de los expertos, el collage. Este escrito ...comprueba la pertinencia de aplicar dicho concepto a su obra, y especialmente a la finca Sansalvador. Primero se expone brevemente el uso del término collage para referirse a Jujol, así como una contextualización histórico-artística. De ésta se deduce que el collage puede entenderse de tres maneras: como recurso gráfico, como estrategia intelectual y como proceso. Luego se analiza el caso de estudio a través de estas tres acepciones, lo que permite descubrir la aparición de fragmentos descontextualizados de distintos orígenes, dispuestos de tal modo que generan imágenes aparentemente unitarias. Por consiguiente, la finca Sansalvador presenta el procedimiento de representación e intelectual que corresponde, punto por punto, a la definición de collage.
Résumé Cet article est une approche stylistique de l’oeuvre de Claude Lévi-Strauss. Partant de l’hypothèse que pour lui le discours des sciences humaines doit rechercher l’homologie structurale avec ...son objet et le traduire , nous nous proposons d’étudier, dans Tristes tropiques , les Mythologiques et Regarder écouter lire , le style de pensée de Lévi-Strauss dans l’étude des productions artistiques. Or si un discours doit traduire la structure et la forme de mythes comme d’objets non-discursifs tels que des oeuvres plastiques, quelle forme doit-il adopter ? Cette recherche est aussi bien formelle que théorique, puisque Lévi-Strauss entend trouver un mode d’écriture qui traduise et rende visible le fonctionnement de l’esprit dans la création. Cet article tente de répondre à cette question en décrivant comment Lévi-Strauss altère progressivement ses modèles stylistiques, plaçant d’abord son écriture sous l’égide de l’analyse structurale, puis de la musique et du mythe, et enfin du collage.
Biogeographic analysis has been applied on the globe- or orogen-scale tectonic evolution. The scarcity of paleobiogeographic study cases caused a debate as to the Late Paleozoic detailed accretion ...and convergence process of collages in the Central Asian Orogenic Belt. This contribution presents contrasting biota characteristics of the Early and Middle Devonian rugose corals in the Dananhu-Harlik Arc. By the multivariate analyses of the Early and Middle Devonian rugose coral faunas from series of the tectonic units in the Central Asian Orogenic Belt and neighboring areas, we reveal that two distinct paleobiogeographic units, namely, the Boreal and Tethyan Realms, were separated by the North Tianshan Ocean and Kalamaili Ocean in the Early and Middle Devonian, respectively. It means that the Dananhu-Harlik Arc experienced a paleobiogeographic change from the Boreal Realm in the Early Devonian to the Tethyan Realm in the Middle Devonian. Comprehensively considering the coral paleobiogeography, paleomagnetism, magmatism, provenance and distribution of ophiolites in the southwestern Central Asian Orogenic Belt, we speculate that the basal controlling factors of the Devonian coral paleobiogeographic pattern in the CAOB are the geographical isolation caused by the presence of oceanic basins, and the Mongolia and Kazakhstan Collages were separated by the North Tianshan Ocean sandwiched between the Dananhu-Harlik Arc and Central Tianshan Block during the Silurian to Early Devonian. In the Middle Devonian, the bidirectional and roll-back subduction of the North Tianshan Ocean caused the Dananhu-Harlik Arc separated from the Mongolia Collage by the Kalamaili Ocean and further moved towards the eastern Kazakhstan Collage. It caused the change of the rugose coral paleobiogeographic pattern in the southwestern Central Asian Orogenic Belt. The terminal convergence of Dananhu-Harlik Arc and Kazakhstan Collage occurred before the Latest Devonian and subsequently led to the formation of a new collage sandwiched by the Junggar-Kalamaili and South Tianshan Oceans.
•This paper reports the Middle Devonian shallow-water rugose coral faunas in the Dananhu-Harlik Arc for the first time.•The analysis results clearly show where the boundary of Boreal and Tethyan Realms lay in the southwestern CAOB during the Early to Middle Devonian.•This contribution proposes a distinctive tectonic evolution model of the southwestern CAOB, based on the comprehensive consideration of paleobiogeographic recognizing and other geological evidences.•This is the first time that multivariate analyses of marine bottom invertebrates are applied to better reveal the tectonic evolution history of the CAOB. It is likely an innovative method for accretionary orogenic belt studies.
"This dissertation examines the relationship between collage – experiences of difference – artists. It explores the (art) history of collage as well as the perspective on collage as an artistic, ...methodological, epistemological and biographical principle. Likewise, the thesis that experiences of difference materialize artistically as well as biographically and can be found in textual and pictorial material will be pursued – with a focus on subjectification theory. Experiences of difference are understood in this research as reflections of experiences of discrimination and of othering (processes of being made into supposed others). The present research on subjectification – which centers on the life and work of Hannah Höch (1889-1978) – is carried out, on the one hand, on the basis of a discourse-analytical examination of biographical text documents of the artist; on the other hand, this very text analysis is related to an image analysis of the höch collage “Lebensbild” from 1972/1973. The pictorial and textual material will be interrogated for the (de-)thematization of the four categories of difference: gender, class, body/disability, race as well as their intersectional entanglement. In a micro-linguistic fine analysis, the linguistic (re-)production of possible experiences of difference will be examined on the basis of the three analysis heuristics: invocation, self-statements, biographical experiences. Embedded in and engaging with contemporary discourses of art and special education, this work aims to transform research findings on experiences of difference/collage/artists for those same disciplines. The perspective of Hannah Höch as an artist has so far been a research desideratum with a deeper focus on the analysis of body/disability and gender; the present study addresses this very issue and thus also shows transdisciplinary connectivity to Gender and Disability Studies."
"Die vorliegende Dissertation untersucht das Verhältnis Collage – Differenzerfahrungen – Künstler:Innen. Dabei wird die (Kunst-)Geschichte der Collage sowie die Perspektive auf Collage als künstlerisches, methodisches, epistemologisches und biographisches Prinzip erforscht. Ebenso wird – unter subjektivierungstheoretischem Fokus – der These nachgegangen, dass sich Differenzerfahrungen künstlerisch wie biographisch materialisieren und sich in Text- und Bildmaterial auffinden lassen. Differenzerfahrungen werden in dieser Forschungsarbeit verstanden als Reflexionen von Diskriminierungserfahrungen und von Othering/Veranderung (Prozessen des Gemacht-Werdens zu vermeintlich Anderen). Die vorliegende Subjektivierungsforschung – in deren Zentrum Leben und Werk Hannah Höchs (1889-1978) stehen – vollzieht sich zum einen anhand einer diskursanalytischen Untersuchung biographischer Textdokumente der Künstlerin; zum anderen wird ebendiese Textanalyse mit einer Bildanalyse der höch’schen Collage „Lebensbild“ aus dem Jahr 1972/1973 in Bezug gesetzt. Das Bild- und Textmaterial wird auf die (De-)Thematisierung der vier Differenzkategorien Geschlecht, Klasse, Körper/Behinderung, Herkunft/race sowie deren intersektionaler Verschränkung befragt und in einer mikrosprachlichen Feinanalyse anhand der drei Analyseheuristiken Anrufung, Selbstaussagen, biographische Erfahrungen auf die sprachliche (Re-)Produktion möglicher Differenz(-Erfahrungen) untersucht. Eingebettet in und in Auseinandersetzung mit zeitgenössischen Diskursen von Kunst- und Sonderpädagogik verfolgt diese Arbeit das Ziel, Forschungsergebnisse zu Differenzerfahrungen/ Collage/Künstler:Innen für ebenjene Disziplinen zu transformieren. Die Perspektivierung der Künstlerin Hannah Höch stellte unter dem vertieften Analysefokus von Körper/Behinderung und Geschlecht bislang ein Forschungsdesiderat dar; die vorliegende Untersuchung bespielt ebendieses und zeigt sich hierdurch zusätzlich transdisziplinär anschlussfähig an die Gender und Disability Studies."
