Relevant bibliographies by topics / Andres Serrano

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  2. Dissertations / Theses
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Academic literature on the topic 'Andres Serrano'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Andres Serrano"

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Moscrop, Andrew. "Andres Serrano." BMJ 323, Suppl S6 (2001): 0112481. http://dx.doi.org/10.1136/sbmj.0112481.

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BERNARD, C. "Andres Serrano." Nka Journal of Contemporary African Art 1995, no. 3 (1995): 56–59. http://dx.doi.org/10.1215/10757163-3-1-56.

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Cosentino, Donald J. "Andres Serrano: Photographs." African Arts 23, no. 4 (1990): 84. http://dx.doi.org/10.2307/3336953.

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Trowbridge, Terry. "Asparachrist (for Andres Serrano)." Studies in Arts and Humanities 3, no. 1 (2017): 92. http://dx.doi.org/10.18193/sah.v3i1.94.

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Terziyska, Yoli. "Exhibition Review: Andres Serrano: Torture." Afterimage 46, no. 2 (2019): 59–66. http://dx.doi.org/10.1525/aft.2019.462006.

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Dyer, Richard. "Andres Serrano in conversation with Richard Dyer." Wasafiri 18, no. 38 (2003): 22–27. http://dx.doi.org/10.1080/02690050308589822.

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Fusco, Coco. "Sublime abjection: An interview with Andres Serrano." Third Text 5, no. 16-17 (1991): 173–88. http://dx.doi.org/10.1080/09528829108576333.

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Richards, Morgan. "Taking the Piss: From Serrano to Surfwear." Media International Australia 92, no. 1 (1999): 33–42. http://dx.doi.org/10.1177/1329878x9909200106.

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In a factional and pluralistic society, art that works in opposition to political correctness is increasingly prone to public controversy and intolerance. This paper examines Andres Serrano's notorious Piss Christ and Mambo's provocative clothing range, Spiritual Adventurewear, as a means of considering the relation between discourses on satire and value and the politics of offence and transgression.
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Shine, Tyler. "Taboo Icons: The Bodily Photography of Andres Serrano." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 24–44. http://dx.doi.org/10.5195/contemp.2015.141.

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Andres Serrano’s photography is often dismissed as being shocking for the sake of being shocking. His infamous photograph Piss Christ (1987) is the oft-cited example at the center of the National Endowment for the Arts controversies during the Culture Wars of the 1980s and 1990s. I return to Piss Christ as a way to expand the interpretative scope of Serrano’s early photographs, which I call “taboo icons” because of their ambiguity and ability to crisscross symbolic boundaries in the unstable space between sacred and profane, thus making his images both powerful and potentially dangerous. Building upon previous scholarship that draws connections between modern and early modern aesthetic practices, I look to the material practices of Christianity in medieval Europe characterized by a sophisticated visual culture that mixed both the physical and the spiritual. The intensifying rejection and reverence of matter resulted in divergent responses, yet the contradictory nature of matter remained central to the ideological beliefs of Christianity where the doctrines of Creation, Incarnation, and Resurrection are at its core. Serrano’s visceral photographs are emphatically material and can productively be read vis-à-vis medieval visual culture. In doing so, this reading changes the narrow perception of Serrano’s early photographs and provides an alternative understanding of his artistic project that reinserts religion into contemporary American art discourse.
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Bargdill, Richard W. "Deleuzian Approaches to the Corpse." Janus Head 12, no. 2 (2011): 101–29. http://dx.doi.org/10.5840/jh201112231.

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Whereas memorial culture places the corpse in an aborescent hierarchy of values, Deleuze and Guattari’s rhizome undermines this image of thought. The photography of Andres Serrano and Peter Witkin, and Peter Eisenman’s Holocaust Memorial in Berlin, are rhizomes: they form a productive network of chaotic, subterranean connections and ruptures ‘dismembering’ the corpse’s traditional semiotics.
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Dissertations / Theses on the topic "Andres Serrano"

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Summersgill, Lauren Jane. "Visible care : Nan Goldin and Andres Serrano's post-mortem photography." Thesis, Birkbeck (University of London), 2016. http://bbktheses.da.ulcc.ac.uk/214/.

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This thesis investigates artistic post-mortem photography in the context of shifting social relationship with death in the 1980s and 1990s. Analyzing Nan Goldin’s Cookie in Her Casket and Andres Serrano’s The Morgue, I argue that artists engaging in postmortem photography demonstrate care for the deceased. Further, that demonstrable care in photographing the dead responds to a crisis of the late 1980s and early 1990s in America. At the time, death returned to social and political discourse with the visibility of AIDS and cancer and the euthanasia debates, spurring on photographic engagement with the corpse. Nan Goldin’s 1989 post-mortem portrait of her friend, Cookie in Her Casket, was first presented within The Cookie Portfolio. The memorial portfolio traced the friendship between Cookie and Goldin over fourteen years. The work relies on a personal narrative, framing the works within a familial gaze. I argue that Goldin creates the sense of family to encourage empathy in the viewer for Cookie’s loss. Further, Goldin’s generic and beautified post-mortem image of Cookie is a way of offering Cookie respect and dignity in death. Andres Serrano’s 1992 The Morgue is a series of large-scale cropped, and detailed photographs capturing indiscriminate bodies from within an unidentified morgue. I assert that Serrano intentionally presents these corpses as objects, outside of life. His stark lighting, emphasis on texture and the rich colours of Cibachrome print beautify and lavish aesthetic care on the corpse-objects. I propose a reading of The Morgue through Serrano’s deliberate use of beauty to transform the corpses into icons, and read the entire series as a visualisation of the sublime within the abject. Goldin and Serrano have fundamentally different approaches to post-mortem photography. Goldin’s work follows an artistic and historical tradition of memorial portraits taken of the deceased by friends or family; whereas Serrano follows from a forensic framework appropriated by artists who photograph within a morgue. Previous discourse separated memorial and forensic post-mortem photography in order to better appreciate the historical trajectory of each field. In the context of a time where death was moving from near invisibility into the mainstream, comparing Goldin and Serrano offers insight into the changes in America’s visual relationship with death.
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Worley, Taylor. "Theology and contemporary visual art : making dialogue possible." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/940.

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Within the field of theological aesthetics, this project assesses the divide between theological accounts of art and the re-emergence of religious imagery in modern and contemporary art. More specifically, American Protestant theologians and their accounts of visual art will be taken up as a representative set of contemporary theological inquiry in the arts. Under this category, evaluation will be made of three diverse traditions in American Protestant thought: Paul Tillich and Liberal Protestantism, Francis Schaeffer and the Neo-Calvinists, and the open evangelical accounts of Nicholas Wolterstorff and William Dyrness. With respect to modern and contemporary visual art, this evaluation judges the degree to which theologians have understood the primary concepts and dominant narratives of various modernisms and postmodernisms of art since the end of the nineteenth century, recognised the watershed moments in the lineage of the twentieth century avant-garde, and acknowledged the influence of critical theory not only upon the contemporary discourse in aesthetics and art production but also in the social reception of art. In tracing the re-emergence of religious imagery in modern and contemporary art, this project takes up three diverse traditions: the Crucifixions of Francis Bacon and the memento mori art of Damien Hirst, the ‘re-enchantment’ of art in the work of Joseph Beuys, and the art of ‘False Blasphemy’ associated with lapsed Catholics like Rober Gober and Andres Serrano. By assessing what theologians have written concerning visual art and the surprising return of certain religious imagery in modern and contemporary art, this study will intimate a new way forward in a mutually beneficial dialogue for art and religious belief.
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Köhn, Serrano Melissa Suzanne [Verfasser], and Andreas [Akademischer Betreuer] Greiner. "Self-Assembly, Spatial-, and Size- Control of Gold Nanoparticle/Block Copolymer Conjugates / Melissa Suzanne Köhn Serrano. Betreuer: Andreas Greiner." Bayreuth : Universität Bayreuth, 2015. http://d-nb.info/1081718021/34.

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Canton, Luciana Giannini. "Andrea Tonacci: do teatro das verdades às cenas de ficção em Interprete Mais, Pague Mais e Serras da Desordem." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-13112014-112700/.

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A presente pesquisa analisa e compara o processo criativo de dois filmes de Andrea Tonacci: Interprete Mais, Pague Mais (1974-1995) e Serras da Desordem (2006), com foco na relação do cineasta com os atores documentados, investigando a questão da encenação, performatividade e teatralidade. No primeiro filme, ao documentar a crise de um grupo de teatro, Tonacci explora a teatralidade inerente à realidade que documenta, resultando em uma presentificação que só existe através de seu registro cinematográfico. No segundo filme, ele encena a vida de um índio com o próprio índio, encontrando na reconstituição da vida do outro uma narrativa essencialmente autobiográfica. A comparação dos dois procedimentos visa ao confronto e a uma possível aproximação entre as diferentes formas de mise en scène/mise en présence no ato de filmar do cineasta, bem como a um entendimento das diferentes formas de encenar/presentificar o real no cinema de ficção e documentário.<br>This work analizes and compares the creative process of two films by Andrea Tonacci: Play More, Pay More (1974-1995) and Hills of Disorder (2006), focusing on the relationship between the filmmaker and the actors, by exploring the notions of staging, theatricality and performativity. On the first film, while showing the crisis faced by a theater group, Tonacci exposes the teatricality inherent to the reality portrayed, resulting in a presentification that only exists through his cinematic device. On the second film, by enacting the story of a native Brazilian, played by the native himself, he finds on the reconstruction of the life of the other a narrative that is essencially autobiographic. A comparison of the two procedures aims at the confrontation and possible approach of these two forms of mise en scène/mise en présence on the very act of filming, through an understanding of the diferent forms of staging/presenting the real on documentary and fiction films.
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González, Serrano Andrés Felipe [Verfasser]. "Effects of a rumen-protected conjugated linoleic acid supplementation on the quality of bovine oocytes and embryos / Andrés Felipe González Serrano." Hannover : Bibliothek der Tierärztlichen Hochschule Hannover, 2014. http://d-nb.info/1054311714/34.

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Souza, Bernardo Teodorico Costa. "A "DESORDEM" DO TEMPO = as relações entre cinema e história a partir do filme Serras da Desordem." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284978.

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Orientador: Marcius César Soares Freire<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-17T03:37:30Z (GMT). No. of bitstreams: 1 Souza_BernardoTeodoricoCosta_M.pdf: 2196291 bytes, checksum: e05691f9df0767c35af9ef01b3480a2c (MD5) Previous issue date: 2010<br>Resumo: Este trabalho propõe, a partir de uma análise das estratégias narrativas do filme Serras da Desordem (TONACCI, 2006) e seus desdobramentos, uma abordagem das relações entre Cinema e História que enfoca o cinema moderno de acordo com as considerações de Pasolini ("Cinema de Poesia") e Deleuze ("As Potências do Falso") acerca da narrativa neste. Tomado o exemplo de Serras da Desordem como ilustração de cinema moderno a desenvolver uma narrativa que não se orienta por um modelo de verdade, e tampouco se referencia num substrato historiográfico linear, propõe-se uma abordagem histórica capaz de problematizar as imagens cinematográficas em sua imanência e os processos narrativos como pensamento historiográfico, mais propriamente pela perspectiva arqueológica de Foucault ("Arqueologia do Saber")<br>Abstract: This paper proposes, through an analysis of the narrative strategies in the movie Serras da Desordem (Tonacci, 2006) and its implications, an approach to relations between cinema and history that focuses on modern cinema according to the considerations of Pasolini ("Film Poetry") and Deleuze (" The Powers of the False ") about its narrative. Once taken the example of Serras da Desordem as an illustration of modern cinema to develop a narrative that is not guided by a model of truth, or referenced in a linear historiographical substrate, we propose a historical perspective that is abble to discuss the cinematic images in its immanence and the narrative processes as historiographical propositions, more specifically through the archaeological perspective of Michel Foucault ("Archaeology of Knowledge")<br>Mestrado<br>Mestre em Multimeios
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Rosa, Amália Eugênia Matavelli [UNESP]. "Revisitação de Bromeliaceae na APA Santuário ecológico da Pedra Branca Caldas, MG." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/87837.

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Made available in DSpace on 2014-06-11T19:23:02Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-04-28Bitstream added on 2014-06-13T18:09:10Z : No. of bitstreams: 1 rosa_aem_me_rcla.pdf: 1064287 bytes, checksum: ab9e33b0c37f5a7f45c3e4caa956d4d6 (MD5)<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)<br>A Área de Proteção Ambiental “Santuário Ecológico da Pedra Branca” localizase no município de Caldas, sul de Minas Gerais, na face interiorana da Serra da Mantiqueira. Nos 119 km2 da área, a altitude é sempre superior a 1000m, chegando a 1760m no seu ponto culminante, a Serra da Pedra Branca. A região é inserida no domínio de Mata Atlântica, embora esteja nos limites entre esta e o bioma Cerrado. A região de Caldas desperta interesse desde a segunda metade do século XIX, quando o naturalista Anders F. Regnell realizou amplas coletas da flora local, dentre elas relacionando várias espécies de Bromeliaceae. Com o objetivo de retomar os trabalhos de caráter florístico e taxonômico iniciados por Regnell, bem como apresentar espécies ainda não descritas para a região, e/ou espécies novas de Bromeliaceae, foram amostrados, durante 18 meses, indivíduos de Floresta Estacional Semidecidual Montana e Altomontana, Campo de altitude, Campos Rochosos e Cerradão, em diferentes cotas de altitude. Em razão do elevado grau de fragmentação da vegetação local e da grande extensão coberta por pastagem, culturas e mineração, as áreas priorizadas para a coleta foram as que ainda preservam a vegetação original, com destaque para o entorno da Pedra Branca. Para cada espécie anotou-se a distribuição geográfica, descrição, material examinado e comentários a respeito dos aspectos taxonômicos relevantes, época de floração, frutificação e categoria de ameaça. Foram identificadas 19 espécies de Bromeliaceae nos limites da Área de Proteção Ambiental “Santuário Ecológico da Pedra Branca”. Os gêneros melhor representados foram Tillandsia (9 espécies), Aechmea (3) e Vriesea (3), enquanto Billbergia, Bromelia, Dyckia e Wittrockia apresentaram somente uma espécie cada. É descrita, pela primeira vez, a ocorrência de...<br>The Environmental Protection Area Ecological Sanctuary of Pedra Branca is located in the municipality of Caldas, southern Minas Gerais state, in the countryside face of the Mantiqueira mountain range. In the 119 km2 of the area, the altitude is always above 1000m, reaching 1760m in the summit, the Serra da Pedra Branca. The region belongs to the Atlantic Forest area, although it is located in the boundaries between this one and the Cerrado biome. The region of Caldas raises interest since the mid-nineteenth century, when the naturalist Anders F. Regnell conducted extensive collections of local flora; among them he related several species of Bromeliaceae.With the aim of resuming the work on the floristic and taxonomic character started by Regnell, as well as present species not yet related in the region, and/or new species of bromeliads, samples of individuals of the Montane Seasonal Semideciduous Forest and Upper Montane Forest, High Altitude Grassland (campos de altitude), Rocky Fields and Forested Savanna, were collected in various dimensions of altitude, for 18 months. Due to the high degree of fragmentation of local vegetation and the large expanse covered by pasture, crops and mining, the priority areas for the collection were the ones that are still preserving the original vegetation, especially in the vicinity of Pedra Branca. For each species was noted the geographical distribution, description, material examined and comments about the relevant taxonomic issues, time of flowering, fruiting and endangered category. We identified 19 species of Bromeliaceae in the limits of the Environmental Protection Area Ecological Sanctuary of Pedra Branca. The best represented genera was Tillandsia (9 species), Aechmea (3) and Vriesea (3), while Billbergia, Bromelia, Dyckia and Wittrockia showed only one species each. It is described for the first time the occurrence of ... (Complete abstract click electronic access below)
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Chiang, Chun-Hung, and 江俊宏. "The Transgression of Boundary in Taboos- on Andres Serrano''s Piss Christ." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/8bbd4m.

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碩士<br>國立臺北藝術大學<br>美術史研究所<br>96<br>Andres Serrano usually employs marginalized affairs as themes of his creations, through which he daringly challenges controversial issues, such as religion, death, and sex. His unique style of interpreting these issues in his works subverted the pre-existing social values. Some of Serrano’s interpretations even involved taboos of social cultures, therefore his works provoked quite a few disputes. This thesis focuses on Serrano’s most controversial works, Piss Christ. Basing on the disputed issues of the Piss Christ, the study discusses whether the work implicates blasphemy against the holy symbol in religion, or whether it possesses profounder values of arts. Through interpreting Serrano’s creative artwork and analyzing the impact of religion on him, I analyzes the diverse meanings in this piece of artwork from different aspects, such as art making, religion, and social cultures. In addition to analysis on blasphemy from above mentioned aspects, the theory of transgression from Georges Bataille was chosen to further explore the element of transgression in Piss Christ. Serrano challenges the fixed boundary between ‘the sacred’ and ‘the profane’ and enables the creation of arts to have such powerful energy of subversion through boundary transgression. Finally, the thesis takes a closer observation on the historical background of the controversial events surrounding the Piss Christ by exploring the conflicting relationship between arts, politics and religion. The unique value of Piss Christ in this era will be fully portrayed .
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Buchler, David. "The art of dying : depictions of death in the work of Andres Serrano, Joel-Peter Witkin and David Buchler." Thesis, 2010. http://hdl.handle.net/10413/3363.

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This dissertation explored visual representations of death in the photographic work of Andres Serrano and Joel-Peter Witkin, as well as the MAFA candidate's (David Buchler) own art practice. It looked at historical overviews of representations of death from the Middle Ages to present, as a means of contextualising and locating the reasons as to how images came to be the way they are in the present. Selected artworks were examined with particular theoretical reference to Phillipe Ariès' investigation into the changing attitudes towards death in Western society and Julia Kristeva's abjection theory. This dissertation focuses on the abjection of death and more specifically the corpse and the treatment of it in the work of Serrano and Witkin. This project explored some of the reasons why the images in this dissertation may be seen as disturbing and confrontational.<br>Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.
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Larouche, Peggy. "Le boulevard des allongés : la représentation de la morgue au cinéma et dans les autres arts." Thèse, 2008. http://hdl.handle.net/1866/7366.

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Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal<br>Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
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Books on the topic "Andres Serrano"

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Serrano, Andres. Andres Serrano. Galleri Riis, 1991.

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Germano, Celant, and Galleria Pack, eds. Andres Serrano: Holy works. Damiani, 2011.

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Serrano, Andres. Andres Serrano: Body & soul. Edizioni L'Archivolto, 1996.

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1946-, Hobbs Robert Carleton, Steiner Wendy 1949-, Tucker Marcia, and University of Pennsylvania. Institute of Contemporary Art., eds. Andres Serrano, works 1983-1993. Institute of Contemporary Art, University of Pennsylvania, 1994.

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Serrano, Andres. Andres Serrano: Works from 1986 - 1992. Centre Contemporary Art, 1994.

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Serrano, Andres. A history of Andres Serrano, a history of sex. Edited by Wilson Mark and Groninger Museum. Groninger Museum, 1997.

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Serrano, Andres. Andres Serrano: Moderna galerija Ljubljana, 1. marec-3. april 1994. Moderna galerija Ljubljana, 1994.

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Davanzati, Domenico Forges. Giovanni Andrea Serrao: Vescovo di Potenza e la lotta dello Stato contro la Chiesa in Napoli nella seconda metà del Settecento. P. Lacaita, 1999.

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Andres Serrano. Nippon Shuppan Hanbai Deutschland GmbH, 1996.

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Andres Serrano: uncensored photographs. Silvana editoriale, 2016.

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Book chapters on the topic "Andres Serrano"

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Koch, Roberta Maria. "Wie innovative Start-ups zu Kapital kommen." In Die Wirtschaft im Wandel. Springer Fachmedien Wiesbaden, 2021. http://dx.doi.org/10.1007/978-3-658-31735-5_10.

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ZusammenfassungInnovative Jungunternehmen brauchen dringend Risikokapital. Die Kreditgeber sind zurückhaltend, verlangen Sicherheiten und wollen verlässliche Hinweise auf gute Erfolgsaussichten sehen. Aber das Risiko ist hoch und der Erfolg auf dem Markt ungewiss. Wie können innovative Start-ups zu Kapital kommen? Verwertbare Patente dienen als Sicherheit and schaffen Zugang zu Kredit. Erfahrene Wagnisfinanziers können besser als andere die Erfolgschancen beurteilen und sind eher bereit, sich zu engagieren. Darauf können auch andere Kreditgeber vertrauen. Wagniskapital hilft gleich zweimal. Die Wagniskapitalisten geben selber Beteiligungskapital. Sie geben auch anderen Kapitalgebern das notwendige Vertrauen, damit diese weitere Finanzierung bereitstellen. Deshalb ist ein aktiver Markt für Wagniskapital in einer innovativen Wirtschaft so wichtig.Hochberg, Yael, Carlos Serrano and Rosemarie H. Ziedonis (2018), Patent Collateral, Investor Commitment, and the Market for Venture Lending, Journal of Financial Economics 130, 74–94.
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Groom, Amelia, and M. Ty. "Enduring Ornament." In Cultural Inquiry. ICI Berlin Press, 2020. http://dx.doi.org/10.37050/ci-17_06.

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This is an essay about rust. Iron usually plays the part of strength, stubbornness, and impenetrability, but rust registers the dimension of time in the material, reminding us that it always carries the potential for its own decomposition. While great expense is incurred to stave off iron’s oxidization, we read the uselessness that rust precipitates as an interruption of the instrumental logics that sustain racial capitalism. Looking to the rusted ring that became Elsa von Freytag-Loringhoven’s Enduring Ornament (1913), we consider how the discarded and defunctionalized lend themselves to ornamental redeployment. The essay then turns to works by the contemporary American artists David Hammons and Andrea Fraser, both of which transform Richard Serra’s rusty steel sculptures into a backdrop for fleeting gestures of impromptu reclamation. Attending to questions of susceptibility and monumental weathering, these reflections look to rusty leakages that play out the impossibility of refusing the environment. Rust, we suggest, is a material archive of exposure that does not keep itself, but flakes apart and seeps away.
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Margulies, Ivone. "Reenactment and A-filiation in Serras da Desordem." In In Person. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190496821.003.0008.

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This chapter discusses Serras da Desordem (Hills of Chaos) (Andrea Tonacci, 2007), which concerns an isolated Indian who reenacts atrocities that happened thirty years earlier, including his displacement and wandering until making contact with a rancher’s family and eventually rejoining the remainder of his group. The chapter analyzes the film’s hybrid texture, its mix of reenacted scenes with archival and TV and media images and the implication of cinema in the record of multiple instances of exploitation throughout Brazilian history. It also studies two long-span films returning to events that happened twenty years earlier—Twenty Years Later: A Man Marked to Die (Eduardo Coutinho, 1964–1984) and Corumbiara (Vincent Carelli, 2006) on first contact with isolated indigenous groups as a comparison with Tonacci’s approach to return and to Brazilian history. The chapter considers Tonacci’s self-ethnographic early projects and his experimental films in relation to this ambitious allegory on Brazilian exploitation in the 1970s; it reads Tonacci’s untranslated communications by Carapiru as a willed form of opacity, an enforced, enacted process of dislocation and alienation and an indictment of Brazilian politics, a process termed “a-filiation.”
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"(a) Central Andes of Peru, near Chacayán: terraces in the dry 268 season (b) View from the central railway of Peru 268 11.2 The driest desert in the world, the Atacama, northern Chile 270 11.3 One of the highest mountains in the Andes, Huascarán, Peru 270 11.4 Latin America: mechanisation in Brazil (a) Early textile machinery installed in a mill in Northeast 274 Brazil, Salvador (b) Plant for processing manganese ore, Serra do Navio, 274 Amapa, North Brazil 12.1 Africa south of the Sahara: cultivators and herders (a) Trappean lava plateau of central Ethiopia: patchwork of 296 ploughed fields and land with crops (b) Eastern lowlands of Ethiopia: nomads herding cattle 296 12.2 Africa south of the Sahara: agriculture (a) Subsistence agriculture: a stick used to make holes in the 297 soil to plant seeds, Ethiopia (b) Commercial agriculture: sisal fibre being processed 297 12.3 Africa south of the Sahara: church hollowed out of a deposit of 298 sandstone, Lalibela, Ethiopia 12.4 Tanzania: extracts from manuals on diet and health 300 12.5 South Africa: cartoons from the magazine Fun 302 13.1 Semi-desert landscape, with some cultivation and a date-palm 315 Mosque in Kaiouran, Tunisia, first in status in North Africa 316." In Geography of the World's Major Regions. Routledge, 2003. http://dx.doi.org/10.4324/9780203429815-162.

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Conference papers on the topic "Andres Serrano"

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Negre, Joan, Ferran Falomir, Marta Pérez-Polo, and Gustau Aguilella. "Poliorcética, morfología edilicia y técnicas constructivas en el Tossal de la Vila, un recinto fortificado de época emiral en el extremo septentrional del Šarq al-Andalus." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11383.

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Abstract:
Poliorcetics, architectural morphology and construction techniques at Tossal de la Vila, a fortified enclosure from the Emirate period in the northernmost end of Šarq al-AndalusThis work focuses on the first results from the systematic excavation of the Tossal de la Vila (Serra d’en Galceran, Castelló) archaeological site. This is, a hillfort build during the Emirate of al-Andalus in the intersection between the territories of Tortosa, Valencia and the Iberian System mountain ranges. Our case study is framed within the historiographic discussion on the subject of rocky and castellated settlements in this area set forth thirty years ago by André Bazzana. A debate that was largely enriched by several works pending the last years on the subject of hilly occupations between Late Antiquity and Early Middle Ages. In that direction, we analyse here the architectural questions that have been raised by the recent archaeological works at the site. Specifically, we will try to systematise the different defensive solutions adopted on the design of the fort, as well as the diverse construction techniques used along the fortbuilding process.
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