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Relevant bibliographies by topics / ART / Assemblage Art

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Academic literature on the topic 'ART / Assemblage Art'

Author: Grafiati

Published: 27 February 2023

Last updated: 2 March 2023

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Journal articles on the topic "ART / Assemblage Art"

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Zhyrov, Vasyl. "Assemblage as Art Technique in Contemporary Art." ART Space, no. 3 (2018): 73–75. http://dx.doi.org/10.28925/2519-4135.4.2018.3.12.

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In this article the content of the notions of “collage” and “аssemblage” is covered. The characteristic to аssemblage as a style of painting is given . Stylization of an artistic image through аssemblage is analysed.

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Jones, Andrew Meirion. "The Art of Assemblage: Styling Neolithic Art." Cambridge Archaeological Journal 27, no. 1 (January 11, 2017): 85–94. http://dx.doi.org/10.1017/s0959774316000561.

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The art of Neolithic Britain and Ireland consists of a variety of curvilinear and geometric motifs pecked into stone (in open-air rock art or passage tombs) or carved into portable artefacts of chalk, stone or antler. Because of its abstract nature the art has proved problematic for archaeologists. Initially archaeologists assumed the art was representational; now most scholars have abandoned this view, and simply approach the art stylistically. Here I argue that stylistic analysis is insufficient to understand this art: instead the process of making provides a fuller understanding of this art. It is argued that the practice of assemblage is a key aspect of the process of making.

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Maithani, Charu. "Screens as Gestures in Interactive Art Assemblage." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 147. http://dx.doi.org/10.25038/am.v0i17.278.

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The interaction in the contemporary media art installations can be viewed as a process of transformation as the parts of the installation engage and respond to each other. This paper considers interactive media art as assemblages and argues screens to be gestures of this assemblage. The screens activate and rearrange the relations between the elements of the assemblage by providing multiple connections between them. By examining two artworks, Breath (1991/92) by Ulrike Gabriel and Shadow 3 (2007) by Shilpa Gupta, the paper extrapolates the aesthetic experiences gestured by the screens. Article received: April 25, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Preliminary report – Short CommunicationsHow to cite this article: Maithani, Charu. "Screens as Gestures in Interactive Art Assemblage." AM Journal of Art and Media Studies 17 (2018): 147−155. doi: 10.25038/am.v0i17.278

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Somerville, Kristine. "Boxed in: The Art of Assemblage." Missouri Review 45, no. 1 (March 2022): 149–65. http://dx.doi.org/10.1353/mis.2022.0006.

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Hsu, Wun-Ting, and Wen-Shu Lai. "Readymade and Assemblage in Database Art." Leonardo 46, no. 1 (February 2013): 80–81. http://dx.doi.org/10.1162/leon_a_00491.

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This paper aims to elucidate the concept of data as readymade and to discuss how data collection and viewer intervention constitute assemblage in database art. After a brief overview of the concepts, insights are provided into how they may be rendered in database art and what meaningful implications such process might yield.

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Park, Jeong-Ae. "Art as a Collective Assemblage of Enunciation: Implications for Art Education." Journal of Research in Art Education 22, no. 4 (October 31, 2021): 1–16. http://dx.doi.org/10.20977/kkosea.2021.22.4.1.

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Chaberski, Mateusz. "Thomas Shadwell’s the Virtuoso as an Assemblage Laboratory. A View from Installation Art." Art History & Criticism 13, no. 1 (December 1, 2017): 111–22. http://dx.doi.org/10.1515/mik-2017-0008.

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Summary The contemporary landscape of performing arts becomes more and more populated by hybrid genres or “artistic installations” (Rebentisch) which fuse traditional artistic, theatrical and performance practices with scientific procedures, political activism and designing new technologies (e.g. bioart, technoart, digital art and site-specific performance). In this context, theatre texts can no longer be perceived as autopoietic means of solely artistic expression but become part of an assemblage of different discourses and practices. As contemporary assemblage theory contends (DeLanda), assemblages are relational entities which change dramatically depending on relations between its different human and nonhuman elements and various contexts in which they function. Taking the contemporary installation art as a vantage point, this paper aims to analyse a Restoration comedy The Virtuoso (1676) by Thomas Shadwell in an assemblage of theatrical, scientific and political discourses and practices of Early Modern England. Staged in Dorset Gardens theatre in London, the play mobilised a plethora of discourses of science (the status of experimental philosophy institutionalized in 1660 as the Royal Society), politics (Restoration of the monarchy under Charles II) and gender (the infamous heac vir or effeminate man). Drawing on contemporary new materialism, the paper focuses predominantly on Shadwell’s use of the laboratory as a site of emerging assemblages rather than objective matters of fact. In this context, the play itself becomes an assemblage laboratory where new ways of thinking and being are being forged and constantly negotiated.

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Minner, Jennifer. "A Pattern Assemblage: Art, Craft, and Conservation." Change Over Time 10, no. 1 (2021): 26–45. http://dx.doi.org/10.1353/cot.2021.0000.

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Kee, Jessica Baker, Cayla Bailey, Shabreia Horton, Katrice Kelly, James McClue, and Lionell Thomas. "Art at Ashé: Collaboration as Creative Assemblage." Art Education 69, no. 5 (August 15, 2016): 14–19. http://dx.doi.org/10.1080/00043125.2016.1201408.

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Koenderink, Jan, and Andrea van Doorn. "Assemblage and Icon in Perception and Art." Art & Perception 1, no. 1-2 (2013): 5–18. http://dx.doi.org/10.1163/22134913-00002007.

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In The Problem of Form (1893), the German sculptor Adolf Hildebrand distinguishes categorically between perception obtained from multiple fixations or vantage points (G.: Bewegungsvorstellungen; we call these ‘assemblages’), and from purely ‘iconic’ imagery (G.: Fernbilder). Only the latter he considers properly ‘artistic’. Hildebrand finds the reason for this ontological distinction in the microgenesis of visual awareness. What to make of this? We analyze the various ‘modes of seeing’ in some detail. The conceptual issues involved are fundamental, and relevant to both vision science and the visual arts.

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Dissertations / Theses on the topic "ART / Assemblage Art"

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Adkins, Mathew. "The art of assemblage." Thesis, University of East Anglia, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389371.

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Swayze, Eddie. "Techno art /." Online version of thesis, 1995. http://hdl.handle.net/1850/12179.

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Guagliumi, Arthur Robert. "Assemblage art: origins and sources /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10910244.

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Thesis (Ed.D)--Teachers College, Columbia University, 1990.
Includes appendices. Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: David S. Nateman. Bibliography: leaves 162-186.

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Whitaker, Pamela. "The art of movement : the Deleuze and Guattari art therapy assemblage." Thesis, University of Sheffield, 2008. http://etheses.whiterose.ac.uk/14908/.

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The purpose of this thesis is to showcase the philosophical and psychoanalytic collaboration of Gilles Deleuze and Felix Guattari in regards to art therapy. The Deleuze and Guattari Art Therapy Assemblage is a composition that includes the environmental, relational and material elements of art therapy as contexts in which to process subjectivity. Key Deleuze and Guattari concepts will be applied to the practice of art therapy, implicating somatic and psychological processing within the production of art therapy artworks. The generative capacity of art therapy constitutes many creative sites in which to transport subjectivity. Rather than a fixed form, subjectivity moves across a territory of different creative features. The cartography of subjectivity is a network of passages through relationships and contexts that implicate it with affects. This kinaesthetic capacity will be underscored in relation to three methods of psychological and somatic awareness (somatic psychology, performance art and authentic movement) that challenge inhibition through improvisation. These three methods stimulate the circulation of desire as a creative and collective enunciation of subjectivity. Deleuze and Guattari represent desire as a liberating potential acting on both body and mind - an opening commencing from constraining circumstances that define and enclose expression. This has specific implications for the treatment of trauma, which can impose a set of limits that condition reactive versus spontaneous responses. The Deleuze and Guattari Art Therapy Assemblage is a practice in which to stimulate improvisational and experimental affects within the making and viewing of artworks. The significance of this practice is its composite of influences. It is an approach that emphasises not only artworks, but also the performance of subjectivity, a happening within an art therapy space offering choices for engagement and the enactment of different somatic and psychological potentials.

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Massaro, Vincent Peter. "Transmogrification /." Online version of thesis, 1990. http://hdl.handle.net/1850/11190.

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Klinkon, Heinrich. "Provocations : raw constructs in mixed media /." Online version of thesis, 1990. http://hdl.handle.net/1850/11608.

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Mazzer, Mary. "Witch's brew." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1208626408.

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Olivieri, Jessica Ann. "A Conversational Assemblage: New Ways of Framing Contemporary Art." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18615.

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The creation of artwork that has multiple outcomes is not a new phenomenon. This mode of presenting projects or bodies of work that include live, photographic, installation and film/video can be traced back at least as far as the Happenings of the 1960s. This thesis proposes that it is timely to address the frameworks that scaffold artwork in order to understand if they support or hinder such practice. In this thesis I propose that the building blocks of these scaffolds are the language of the original and the document. This dichotomy then informs institutional thinking that translates into the way artist and their practice are framed. This thesis proposes that a shift in the paradigm used to discuss these bodies of work is required, towards an embrace of non-hierarchical language that allows contemporary art practice to sit within a conversational assemblage.

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Sellab, Abdelhak. "La matiere et le materiau a travers le collage, l'assemblage et l'accumulation comme reflets du xxe siecle en occident." Université Marc Bloch (Strasbourg) (1971-2008), 1997. http://www.theses.fr/1997STR20014.

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Avec les nouveautes plastiques dans la peinture occidentale du xxe siecle, le tableau est devenu entierement peint avec des elements etrangers a la peinture a l'huile. La nouvelle matiere collee et assemblee a pris enormement d'importance pour devenir un instrument de travail pour la plupart des artistes. Ces decouvertes et changements n'ont pas laisse le choix aux artistes qui, en integrant d'autres materiaux, ont cree un nouveaux langage. Ce qui leur a permis de manipuler et de varier les materiaux traditionnels a l'aide d'une multitude de jeux de texture et de formes. Ainsi, l'artiste va modifier la lecture des tableaux avec les techniques et combinaisons de materiaux. Il va donc creer des types d'assemblage surprenants. Pour cela, nous avons pris en consideration la matiere en etablissant une vue d'ensemble des tableaux qui refletent la domination et la diversite de la matiere qui designe un certain type de peinture. Ces nouveautes materiologiques et techniques utilisees depuis le debut du siecle s'appuient sur des oeuvres cles, telles que : braque et picasso, schwitters et le merzbleau ou par l'objet, telles que : marcel duchamp, the ready made et combine painting de rauschenberg. En premier lieu, nous avons fais un reperage terminologique et historique de l'assemblage, du collage et de la matiere. Nous avons developpe la conception de la matiere, ensuite nous avons defini et analyse le materiau et ses procedes de fabrication. Nous avons egalement montre comment se manifeste la matiere dans la peinture et explique le developpement de la theorie de la matiere et sa normalisation dans la peinture. Le sujet est traite en deux parties : une partie consacree a l'analyse du texte, des figures ainsi qu'a l'etude d'artistes choisis selon leur importance tant sur le plan theorique que technique. La seconde partie est composee de productions d'artistes cites dans notre analyse et de quelques travaux personnels.

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Noel, Cheryl S. Mrs. "Assembling the Bones: Using Religion, Animal Bones and Sculpture in Art Education." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/99.

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This arts-based thesis is a culmination of how I explore the condition of being mortal through artwork which includes the use of animal bones and religion. This examination will determine how my future art curriculum may help students think in personal and spiritual which provides critical thinking and personal growth.

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Books on the topic "ART / Assemblage Art"

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C, Young D., ed. Earl's art shop: Building art with Earl Simmons. Jackson: University Press of Mississippi, 1995.

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Lugli, Adalgisa. Assemblage. Paris: Société Nouvelle Adam Biro, 2000.

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Lugli, Adalgisa. Assemblage. Paris: A. Biro, 2000.

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Wagner, Gordon. California assemblage art: Gordon Wagner. [Los Angeles]: Oral History Program, University of California, Los Angeles, 1989.

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Maurer-Mathison, Diane V. Collage, assemblage, and altered art. New York: Watson-Guptill Publications, 2007.

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1939-, Bissett Bill, and Vancouver Art Gallery, eds. Rezoning: Collage and assemblage. Vancouver, B.C., Canada: Vancouver Art Gallery, 1989.

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Museum, Solomon R. Guggenheim, ed. Collage, assemblage, and the found object. London: Phaidon, 1992.

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Collage, assemblage, and the found object. New York: H.N. Abrams, 1992.

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Oliveau, Tally. Mixed-media dollhouses: Techniques and ideas for doll-size assemblages. Beverly, Mass: Quarry Books, 2010.

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Marie, Wasilik Jeanne, Harris Susan, and Kent Fine Art Inc, eds. Assemblage: May 12-July 2, 1987. New York, NY: Kent Fine Art, Inc., 1987.

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Book chapters on the topic "ART / Assemblage Art"

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Navas, Eduardo. "The Assemblage Gaze." In Art, Media Design, and Postproduction, 117–26. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315453255-14.

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Sinclair, Vanessa. "Collage, photomontage and assemblage." In Scansion in Psychoanalysis and Art, 85–99. Abingdon, Oxon; New York, NY: Routledge, 2021. |Series: Art, creativity, and psychoanalysis: Routledge, 2020. http://dx.doi.org/10.4324/9781003099147-8.

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Cooke, Richard, Máximo Jiménez, and Anthony J. Ranere. "Archaeozoology Art Documents and the Life Assemblage." In Case Studies in Environmental Archaeology, 95–121. New York, NY: Springer New York, 2008. http://dx.doi.org/10.1007/978-0-387-71303-8_6.

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Wright, Rewa. "Post-human Narrativity and Expressive Sites: Mobile ARt as Software Assemblage." In Springer Series on Cultural Computing, 357–69. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-69932-5_20.

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Battershill, Claire. "Writing with Spines: Bookshelf Art, Found Poetry, and the Practice of Assemblage." In New Directions in Book History, 175–91. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05292-7_9.

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Fu, Jia. "Rethinking the Contemporary Art Fairs Through the Viewpoint of Assemblage Theory: A Case Study of ART021 from Shanghai." In Advances in Intelligent Systems and Computing, 540–45. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-50791-6_69.

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Averett, Erin Walcek. "Beyond Representation: Cypriot Rural Sanctuaries as Vibrant Assemblages." In Ancient Art Revisited, 170–98. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003131038-9.

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Masse, Jean-Pierre. "The Lower Cretaceous Mésogée: A state of the art." In New Aspects on Tethyan Cretaceous Fossil Assemblages, 15–33. Vienna: Springer Vienna, 1992. http://dx.doi.org/10.1007/978-3-7091-5644-5_2.

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Brennan, Kathleen P. J. "Human/Non-Human Assemblages in STAIR." In Science, Technology, and Art in International Relations, 194–201. New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315618371-21.

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Schütze, Konstanze. "Bodies of Images: Art Education After the Internet." In Post-Digital, Post-Internet Art and Education, 81–97. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73770-2_5.

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AbstractThis chapter explores a series of thought experiments for an investigation of what one casually calls the image. In this endeavor, images will be rendered as bodies compiled from versions of themselves (bodies of images), explored embedded in dissemination processes (memeplexes), and hence contoured as highly effective structures with sophisticated potential for transformation (image objects). Basing on three major theoretical concepts (meme theory, object-oriented ontology, and network effects), this re-interrogation of the image is the suggestion of a reading of images as entities that actively, or inactively, form structural assemblages and maintain energetic human and non-human constellations which shape the present. At the close of the exploration, a professional habitus is sketched in which art educators are experts for image relations.

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Conference papers on the topic "ART / Assemblage Art"

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Lasch, Chris, and Benjamin Aranda. "Assemblages." In ACM SIGGRAPH 2009 Art Gallery. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1667265.1667280.

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Reilly, Paul, and Ian Dawson. "TOWARDS A VIRTUAL ART/ARCHAEOLOGY." In VIRTUAL ARCHAEOLOGY. SIBERIAN FEDERAL UNIVERSITY, 2021. http://dx.doi.org/10.17516/sibvirarch-001.

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The term Virtual Archaeology was coined 30 years ago when personal computing and the first wave of digital devices and associated technologies became generally available to field archaeologists (Reilly 1991; 1992). The circumstances that led to the origin of Virtual Archaeology have been recounted elsewhere. Put briefly, Virtual Archaeology was intended for reflexive archaeological practitioners “to be a generative concept and a provocation allowing for creative and playful improvisation around the potential adoption or adaptation of any new digital technology in fieldwork; in other words to explore how new digital tools could enable, and shape, new methodological insights and interpretation, that is new practices” (Beale, Reilly 2017). Digital creativity in archaeology and cultural heritage continues to flourish, and we can still stand by these aspirations. However, in 2021, the definition and extent of this implied “archaeological” community of practice and its assumed authority seems too parochial. Moreover, the archaeological landscape is not under the sole purview of archaeologists or cultural heritage managers. Consequently, experimentation with novel modes and methods of engagement, the creation of new forms of analysis, and different ways of knowing this landscape, are also not their sole prerogative. This applies equally to Virtual Archaeology and digital creativity in the realm of cultural heritage more generally. We assert that other affirmative digitally creative conceptions of, and engagements with, artefacts, virtual archaeological landscapes and cultural heritage assemblages – in their broadest sense – are possible if we are willing to adopt other perspectives and diffract them through contrasting disciplinary points of view and approaches. In this paper we are specifically concerned with interlacing artistic and virtual archaeology practices within the realm of imaging, part of something we call Virtual Art/Archaeology.

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Chen, Xuan. "Ant assemblages and co-occurrence patterns in the swamp." In 2016 International Congress of Entomology. Entomological Society of America, 2016. http://dx.doi.org/10.1603/ice.2016.112909.

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Williamson, T. E., and U. L. Denetclaw. "Early Paleocene (Torrejonian) ant-hill vertebrate assemblages from the Nacimiento Formation, New Mexico." In 2011 New Mexico Geological Society Annual Spring Meeting. Socorro, NM: New Mexico Geological Society, 2011. http://dx.doi.org/10.56577/sm-2011.599.

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Zryanin, V. A. "Analysis of ant assemblages of a monsoon tropical forest based on isotopic metrics." In Eurasian Symposium on Hymenoptera (III Symposium of CIS Countries). St Petersburg: Russian Entomological Society, 2015. http://dx.doi.org/10.47640/1605-7678_2015_86_2_41.

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Perry, Ethan, and Qi Han. "Assemble, Control, and Test (ACT): A Management Framework for Indoor IoT Systems." In 2021 IEEE International Conference on Smart Computing (SMARTCOMP). IEEE, 2021. http://dx.doi.org/10.1109/smartcomp52413.2021.00073.

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Kokesh, Broc, Dany Burgess, Valerie Partridge, Sandra Weakland, and Susan Kidwell. "BIVALVE DEAD-SHELL ASSEMBLAGES ARE STRONG SURROGATES FOR WHOLE BENTHIC MACROINVERTEBRATE COMMUNITIES IN PUGET SOUND." In GSA Connects 2022 meeting in Denver, Colorado. Geological Society of America, 2022. http://dx.doi.org/10.1130/abs/2022am-379257.

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Díaz-Castelazo, Cecilia. "Interhabitat variation in the ecology of extrafloral nectar production and associated ant assemblages in Mexican landscapes." In 2016 International Congress of Entomology. Entomological Society of America, 2016. http://dx.doi.org/10.1603/ice.2016.91855.

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Carl, Philip L., Howard M. Fried, and Philip L. Cohen. "1705 Protein assemblages are newly described intracellular structures that may play a role in shaping the lupus autoantibody repertoire." In LUPUS 21ST CENTURY 2021 CONFERENCE, Abstracts of the Fifth Biannual Scientific Meeting of the North and South American and Caribbean Lupus Community, Tucson, Arizona, USA – September 22–25, 2021. Lupus Foundation of America, 2021. http://dx.doi.org/10.1136/lupus-2021-lupus21century.100.

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Grimmelbein, Louis, Savanna Barry, Sahale Casebolt, Katherine Cummings, Alexander Hyman, Thomas Frazer, and Michal Kowalewski. "NOT ALL SEAGRASS MEADOWS ARE DECLINING: HIGH LIVE-DEAD FIDELITY OF SEAGRASS-ASSOCIATED MOLLUSK ASSEMBLAGES ALONG THE NORTHERN GULF COAST OF FLORIDA." In GSA Connects 2021 in Portland, Oregon. Geological Society of America, 2021. http://dx.doi.org/10.1130/abs/2021am-369345.

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Reports on the topic "ART / Assemblage Art"

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Kellett, D. A., and A. Zagorevski. Overlap assemblages: Laberge Group of the Whitehorse Trough, northern Canadian Cordillera. Natural Resources Canada/CMSS/Information Management, 2021. http://dx.doi.org/10.4095/326064.

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The Laberge Group was deposited during the Early to Middle Jurassic in a marginal marine environment, in the northern Canadian Cordillera. It occurs as a narrow, elongated siliciclastic unit along more than 600 km of strike length, overlapping the Intermontane terranes of southern Yukon and northwestern British Columbia. The Laberge Group was deposited on the Late Triassic Stuhini and Lewes River groups, a volcano-plutonic complex of the Stikine terrane (Stikinia), and, locally, the Kutcho Arc. It is overlain by Middle Jurassic to Cretaceous clastic units. The variations in clast composition and detrital zircon populations among these units indicate major changes in depositional environment, basin extent, and sources during the latest Triassic to Middle Jurassic. Detrital zircon populations are dominated by near contemporary Stuhini-Lewes River arc grains, consistent with dissection of an active arc. Detrital rutile and muscovite data show rapid cooling and exhumation of metamorphic rocks during the Early Jurassic. Thermochronological data indicate that basin thermal evolution was domainal, with at least five regional temperature-time histories.

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McNeil, D. H., J. Dixon, and K. M. Bell. The age, foraminifera, and palynology of the Upper Cretaceous Eagle Plain Group, northern Yukon. Natural Resources Canada/CMSS/Information Management, 2021. http://dx.doi.org/10.4095/328237.

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A re-evaluation of the age of the formations comprising the Eagle Plain Group of northern Yukon was necessitated by widely disparate age determinations in recent years from various authors. Maximum age estimates for the base of the group have varied from middle Albian to Cenomanian, and age estimates for the uppermost strata varied by an even greater range, from Cenomanian to late Maastrichtian. A re-examination of new and archival foraminiferal and palynological data indicates an age range of Cenomanian to late Maastrichtian for the Eagle Plain Group. The late Maastrichtian age is derived from palynology from the northeasternmost area of Eagle Plain. However, the stratigraphic relationship of these youngest beds within Eagle Plain Group remains uncertain. Marine strata of the Eagle Plain Group contain foraminiferal indices that correlate with long-established regional foraminiferal zones from the Mackenzie Delta area. The Cenomanian Zone of Trochammina superstes occurs in the Parkin and Boundary Creek formations of Eagle Plain and Mackenzie Delta, respectively. The Haplophragmoides bilobatus and overlying Glaphyrammina spirocompressa zones occur in the Burnthill Creek and Smoking Hills formations of Eagle Plain and Mackenzie Delta, respectively. Reworked microfossils are a conspicuous feature of strata within the Eagle Plain Group. The basal sandstone of the Parkin Formation, for example, contains an assemblage of foraminifera that is entirely reworked. Palynomorph assemblages through the Eagle Plain Group have been estimated at as much as 99% reworked in some strata.

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Schetselaar, E. M., G. Bellefleur, and P. Hunt. Integrated analyses of density, P-wave velocity, lithogeochemistry, and mineralogy to investigate effects of hydrothermal alteration and metamorphism on seismic reflectivity: a summary of results from the Lalor volcanogenic massive-sulfide deposit, Snow Lake, Manitoba. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/327999.

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We present herein a summary of integrated data analyses aimed at investigating the effects of hydrothermal alteration on seismic reflectivity in the footwall of the Lalor volcanogenic massive-sulfide (VMS) deposit, Manitoba. Multivariate analyses of seismic rock properties, lithofacies, and hydrothermal alteration indices show an increase in P-wave velocity for altered volcanic and volcaniclastic lithofacies with respect to their least-altered equivalents. Scanning electron microscopy-energy dispersive X-ray spectrometry analyses of drill-core samples suggest that this P-wave velocity increase is due to the high abundance of high P-wave velocity aluminous minerals, including cordierite, Fe-Mg amphibole, and garnet, which in volcanic rocks are characteristic of VMS-associated hydrothermal alteration metamorphosed in the amphibolite facies. A seismic synthetic profile computed from a simple amphibolite-facies mineral assemblage model, consisting of mafic-felsic host rock contacts, a sulfide ore lens, and a discordant hydrothermal conduit, show enhanced seismic reflections at conduit-host rock contacts in comparison to the equivalent greenschist facies mineral assemblage model. Collectively our results suggest that VMS footwall hydrothermal alteration zones metamorphosed under middle- to upper-amphibolite facies conditions have enhanced potential for seismic detection.

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Milek, Karen, and Richard Jones, eds. Science in Scottish Archaeology: ScARF Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.06.2012.193.

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The main recommendations of the panel report can be summarised under four key headings:  High quality, high impact research: the importance of archaeological science is reflected in work that explores issues connected to important contemporary topics, including: the demography of, the nature of movement of, and contact between peoples; societal resilience; living on the Atlantic edge of Europe; and coping with environmental and climatic change. A series of large-scale and integrated archaeological science projects are required to stimulate research into these important topics. To engage fully with Science in Scottish Archaeology iv these questions data of sufficient richness is required that is accessible, both within Scotland and internationally. The RCAHMS’ database Canmore provides a model for digital dissemination that should be built on.  Integration: Archaeological science should be involved early in the process of archaeological investigation and as a matter of routine. Resultant data needs to be securely stored, made accessible and the research results widely disseminated. Sources of advice and its communication must be developed and promoted to support work in the commercial, academic, research, governmental and 3rd sectors.  Knowledge exchange and transfer: knowledge, data and skills need to be routinely transferred and embedded across the archaeological sector. This will enable the archaeological science community to better work together, establishing routes of communication and improving infrastructure. Improvements should be made to communication between different groups including peers, press and the wider public. Mechanisms exist to enable the wider community to engage with, and to feed into, the development of the archaeological and scientific database and to engage with current debates. Projects involving the wider community in data generation should be encouraged and opportunities for public engagement should be pursued through, for example, National Science Week and Scottish Archaeology Month.  Networks and forums: A network of specialists should be promoted to aid collaboration, provide access to the best advice, and raise awareness of current work. This would be complemented by creating a series inter-disciplinary working groups, to discuss and articulate archaeological science issues. An online service to match people (i.e. specialist or student) to material (whether e.g. environmental sample, artefactual assemblage, or skeletal assemblage) is also recommended. An annual meeting should also be held at which researchers would be able to promote current and future work, and draw attention to materials available for analysis, and to specialists/students looking to work on particular assemblages or projects. Such meetings could be rolled into a suitable public outreach event.

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Boily-Auclair, É., P. Mercier-Langevin, P. S. Ross, and D. Pitre. Alteration and ore assemblages of the LaRonde Zone 5 (LZ5) deposit and Ellison mineralized zones, Doyon-Bousquet-LaRonde mining camp, Abitibi, Quebec. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/329637.

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The LaRonde Zone 5 (LZ5) mine is part of the Doyon-Bousquet-LaRonde mining camp and is located in the southern part of the Abitibi greenstone belt in northwestern Quebec. The LZ5 deposit consists of three stacked mineralized corridors: Zone 4, Zone 4.1, and Zone 5. Zones 4 and 4.1 are discontinuous satellite mineralized corridors, whereas Zone 5 represents the main mineralized body. The mineralized zones of the LZ5 deposit and adjacent Ellison property (Ellison A and B zones) are hosted in the strongly-deformed, 2699-2695 Ma transitional to calcalkaline, intermediate to felsic, volcanic and volcaniclastic rocks of the Bousquet Formation upper member, which is part of the Blake River Group (2704-2695 Ma). Zones 4, 4.1, and 5 at the LZ5 mine are hosted in intermediate volcanic and volcaniclastic rocks of the Westwood andesitic to rhyodacitic unit (unit 5.1a), which forms the base of the upper member of the Bousquet Formation. The Ellison Zone A is hosted higher up in the stratigraphic sequence within a newly described intermediate volcanic unit. The Ellison Zone B is hosted in felsic volcanic and volcaniclastic rocks of the Westwood feldsparphyric rhyolite dome (subunit 5.3a-(b)). Mineralization in all three zones of the LZ5 deposit consists of discordant networks of millimeter- to centimeter-thick pyrite ±chalcopyrite ±sphalerite ±pyrrhotite veins and veinlets (10-20 % of the volume of the rock) and, to a lesser extent, very finely disseminated pyrite and boudinaged veins (less than or equal to 5 vol. % each) in strongly altered host rocks. Gold commonly occurs as microscopic inclusions in granoblastic pyrite and at the triple junction between recrystallized grains. The veins, stockworks, and disseminations were intensely folded and transposed in the steeply south-dipping, east-west trending S2 foliation. The vein network is at least partly discordant to the stratigraphy. A distal alteration halo envelops the LZ5 mineralized corridors and consists of a sericite-carbonate-chlorite- feldspar ±biotite assemblage. A proximal sericite-carbonate-chlorite-pyrite-quartz- feldspar-biotite ±epidote alteration assemblage is present within the LZ5 mineralized zones. A local proximal alteration assemblage of sericite-quartz-pyrite is also locally developed within Zone 4 and Zone 5 of the LZ5 deposit. Mass gains in Fe2O3 (t) and K2O, and mass losses in CaO, MgO, Na2O, and locally SiO2, are characteristic of the LZ5 alteration zones. The Ellison zone A and B are similar to LZ5 in terms of style of mineralization, but thin (10-20 cm) veins or bands of semi-massive to massive, finely recrystallized disseminated pyrite (0.1-1 mm) are distinctive. Chalcopyrite and sphalerite are also slightly more abundant in the mineralized corridors of the Ellison property and are usually associated with elevated gold grades. The zones are also slightly richer than at LZ5 in terms of gold and silver content, but narrower and less continuous in general. The Ellison Zone A is characterized by gains in Fe2O3 (t) and K2O and losses in CaO, MgO, Na2O, and SiO2. Gains in Fe2O3 (t) and local gains in K2O, MgO, and MnO, and losses in CO2, Na2O, P2O5, and SiO2, characterize the felsic host rocks of the Zone B corridor. The style of mineralization at LZ5 (pyrite ±chalcopyrite veins and veinlets, ±disseminated pyrite with low base metal content), its setting (i.e. in rocks of intermediate composition at the base of the upper member of the Bousquet Formation), and the geometry of its ore zones (stacked lenses of sulfide veins and veinlets, without massive sulfide lenses) differ from the other major deposits of the Doyon-Bousquet-LaRonde mining camp. Despite these differences, this study indicates that the LZ5 and Ellison mineralized corridors are of synvolcanic hydrothermal origin and have most likely been formed by convective circulation of seawater below the seafloor. An influx of magmatic fluids from the Mooshla synvolcanic intrusive complex or its parent magma chamber could explain the Au enrichment at LZ5, as has been suggested for other deposits of the camp. Evidence for a pre-deformation synvolcanic mineralization at LZ5 includes ductile deformation and recrystallization of the sulfides, the stacked nature of its ore zones, subconcordant alteration halos that envelop the mineralized corridors, evidence that the mineralized system was already active when the LZ5 lenses were deposited and control on mineralization by primary volcanic features such as the permeability and porosity of the volcanic rocks.

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Pe-Piper, G., D. J W Piper, J. Nagle, and P. Opra. Petrography of bedrock and ice-rafted granules: Flemish Cap, offshore Newfoundland and Labrador. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/331224.

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This Open File report provides petrographic information from a scanning electron microscope study of granules and small pebbles in four selected trawl samples from Flemish Cap. The mineral composition of the granules was determined by energy dispersive spectroscopy (EDS) and textures are shown in backscattered electron images (BSE). It complements Open File 8359 on the heavy mineral assemblage on Flemish Cap. Granules on the central shoals appear to be derived from outcropping Avalonian basement; those to the east and west are predominantly ice-rafted in origin. These data improve our understanding of the source of the voluminous sands on Flemish Cap and the characteristics of the Avalonian basement rocks on southern Flemish Cap.

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Obado-Joel, Jennifer. The Challenge of State-Backed Internal Security in Nigeria: Considerations for Amotekun. RESOLVE Network, December 2020. http://dx.doi.org/10.37805/pn2020.9.ssa.

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Nigeria faces immense internal security challenges, including the Boko-Haram crisis in the northeast and violent farmer-herder conflicts in the southwest and north-central states. Across the Nigerian federation, pockets of violent clashes have sprung and escalated in new locales in the last decade. Community responses to these violent crises have been diverse and included the establishment of armed groups to supplement or act in parallel to the security efforts of the Nigerian state—in some cases with backing from federal or state governments. These local security assemblages, community-based armed groups (CBAGs), are on the one hand contributors to local order, and normative conceptions of peace and security. On the other hand, these groups are often a pernicious actor within the broader security landscape, undermining intercommunal peace and drivers of violence and human rights abuses. This Policy Note focuses on the characteristics, challenges, and opportunities of Amotekun, a recently formed CBAG in Southwest Nigeria. Drawing from the experiences of similar Nigerian groups, the Note details recommendations that may facilitate greater success and lessen poten al risk associated with Amotekun’s formation. These recommendations are aimed primarily at Nigerian government and civil society actors and describe areas where external support could potentially improve local capacity to conduct oversight of Amotekun and similar groups.

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Ryan, J. J., and A. Zagorevski. Northern Cordillera geology: a synthesis of research from the Geo-mapping for Energy and Minerals program, British Columbia and Yukon. Natural Resources Canada/CMSS/Information Management, 2021. http://dx.doi.org/10.4095/326050.

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Geological Survey of Canada Bulletin 610 summarizes some significant research results and future directions from twelve years of field-based research in the northern Cordillera. The Bulletin presents five distinct, stand-alone, thematic sections: 'Oceanic terranes'; 'Pericratonic Yukon-Tanana terrane'; 'Cordilleran magmatism'; 'Overlap assemblages'; and 'Geophysical characteristics'. These papers are not intended to provide an exhaustive summary of all research that was carried out over the course of GEM; however, these themes, along with individual activity results, provide a good starting point for evaluating future research directions in the northern Cordillera.

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Gouwy, S. A. Devonian conodont biostratigraphy of the Mackenzie Mountains, western part of the Northwest Territories. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/326098.

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In this paper, a review of the current understanding of Devonian conodont biostratigraphy in the Mackenzie Mountains in the Northwest Territories is presented. The Devonian stratigraphy of the northern and southern Mackenzie Mountains is presented on two chronostratigraphic charts, from the first deposits on top of the sub-Devonian unconformity to the lower part of the Imperial and Fort Simpson formations. Schematic maps give an overview of the regional distribution of the formations in the Mackenzie Mountains. This update revealed that several of the assemblage and formation contacts are younger than presumed in an earlier time-stratigraphic chart; several formations and members are now better constrained in the updated charts. The update also pointed out intervals in the charts for which no data were available and for which more research is needed to constrain formations in the Devonian conodont biozonation.

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Johra, Hicham. Assembling temperature sensors: thermocouples and resistance temperature detectors RTD (Pt100). Department of the Built Environment, Aalborg University, December 2020. http://dx.doi.org/10.54337/aau449755797.

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Temperature is one of the most common physical quantities (measurand) to be measured in experimental investigations, monitoring and control of building indoor environment, thermal comfort and building energy performance. The most common temperature sensors are the thermocouples and the resistance temperature detectors (RTDs). These analog sensors are cheap, accurate, durable and easy to replace or to repair. The cable of these sensors can easily be shortened or extended. These sensors have a simple, monotonic and stable correlation between the sensor’s temperature and their resistance/voltage output, which makes them ideal for temperature measurement with electronic logging equipment. This technical report aims at providing clear guidelines about how to assemble and mount type-K thermocouples and Pt100 RTDs. These are the most common temperature sensors used in the Laboratory of Building Energy and Indoor Environment at the Department of the Built Environment of Aalborg University.

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