Relevant bibliographies by topics / Sophie Calle

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Sophie Calle'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 June 2024

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Journal articles on the topic "Sophie Calle"

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Grossman, Alyssa. "Stealing Sophie Calle." Suomen Antropologi: Journal of the Finnish Anthropological Society 43, no. 1 (August 1, 2018): 28–35. http://dx.doi.org/10.30676/jfas.v43i1.74069.

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Delvaux, Martine. "Sophie Calle: Follow me." Filer (Sophie Calle), no. 7 (August 10, 2011): 151–64. http://dx.doi.org/10.7202/1005522ar.

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This article addresses the question of sexual identity in Sophie Calle's work, in particular in Des histoires vraies + dix and No Sex Last Night. Through the use of sexual stereotypes and an emphasis placed on desire, the failure of sexual encounters and love relationships, the artist questions the notion of identity, whether sexual or simply biographical.
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Delvaux, Martine. "Sophie Calle : no sex." Contemporary French and Francophone Studies 10, no. 4 (December 2006): 425–35. http://dx.doi.org/10.1080/17409290601040445.

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Hersant, Yves. "L'autorité de Sophie Calle." Critique 731, no. 4 (2008): 341. http://dx.doi.org/10.3917/criti.731.0341.

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Mavrikakis, Catherine. "Quelques r.-v. avec Hervé. Quand Sophie Calle rencontre encore Hervé Guibert." Filer (Sophie Calle), no. 7 (August 10, 2011): 127–38. http://dx.doi.org/10.7202/1005520ar.

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L’oeuvre de Sophie Calle se place d’emblée dans une relation ludique par rapport aux textes et au personnage de l’écrivain Hervé Guibert. Si No Sex Last Night s’ouvre sur l’annonce par Sophie de la mort de son ami Hervé, si Douleur exquise raconte un épisode d’intimité, celui du bain, entre Calle et Guibert, si Guibert fut le dépositaire négligent d’une photo d’enfance de l’artiste sur laquelle il écrit un texte que Calle recopie dans un de ses propres livres, force est de constater que le travail de Calle se met sous le signe de rendez-vous artistiques, sporadiques avec Hervé Guibert et ses écrits. Ces derniers se donnent d’ailleurs comme relances ou entraves au processus de création. Hervé Guibert serait un des spectres de Calle, une « image-fantôme », pour reprendre ici le titre d’un livre de Guibert, qui visite Sophie de temps à autre et dont celle-ci suit les demandes et les prières. Et c’est par le biais de cette photographie de Sophie enfant qui a été prêtée à Guibert, photographie qu’il a perdue puis retrouvée, qu’il nous est possible de réfléchir sur le « M’as-tu vue, Hervé? » que Calle lance sans cesse dans sa propre oeuvre.
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Clarke, Jennifer. "The Different Audiences of Sophie Calle." Suomen Antropologi: Journal of the Finnish Anthropological Society 43, no. 1 (August 1, 2018): 39–40. http://dx.doi.org/10.30676/jfas.v43i1.74071.

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Azam, Martine. "Anne Sauvageot, Sophie Calle, l'art caméléon." Sociologie de l'Art OPuS 11 & 12, no. 1 (2008): 321. http://dx.doi.org/10.3917/soart.011.0321.

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This, Claude. "Gestes d’artistes : Sophie Calle et Orlan." La Cause freudienne N° 58, no. 3 (October 15, 2004): 195–98. http://dx.doi.org/10.3917/lcdd.058.0195.

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Kotowska, Katarzyna. "Identités fictives de Cindy Sherman et de Sophie Calle." Cahiers ERTA, no. 28 (December 30, 2021): 162–94. http://dx.doi.org/10.4467/23538953ce.21.040.15190.

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Fictional identities of Cindy Sherman and Sophie Calle In this paper we confront the issue of masquerade in chosen works of contemporary artists Cindy Sherman and Sophie Calle. Referring to Joan Riviere's (1929) statement that femininity is a masquerade, we examine the fictional embodiments of the mentioned artists in which the mask not only conceals but also reveals reality. The artistic and literary corpus is composed as follows: Cindy Sherman (Untilted Film Stills 1977, Society portraits (2008) and Flappers (2016-18)); Sophie Calle (La filature (1981), Les histoires vraies (2002) and Prenez soin de vous (2007)). Following the analysis of the artists' projects and their autobiographical or semiautobiographical approaches, we come to reveal the reversal of the techniques used by the artists. It means that Sherman, like the film stills, captures a moment and immobilizes it; Calle, for her part, gives life to the events that she provokes. However, in both cases the masks they wear, the fictitious identities that the artists embody, contribute to revisit the codes of the time we live in.
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Baraona, Isabel. "Sophie Calle & Paul Auster: Doubles-jeux." Palíndromo 11, no. 23 (January 11, 2019): 78–83. http://dx.doi.org/10.5965/2175234611232019078.

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Apresentação de Doubles-jeux, um conjunto de 7 (sete) livros de artista de Sophie Calle feitos a partir de uma colaboração com o romancista americano Paul Auster. O texto foi redigido em português europeu.
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Dissertations / Theses on the topic "Sophie Calle"

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Ranglin, Eva. "Sophie Calle i den andres spår : Tre tidiga verk." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-334380.

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Uppsatsen behandlar tre tidiga verk av Sophie Calle; Suite vénitienne, 1980, L'hôtel (Hotellet), 1981 och La Filature (Skuggningen), 1981. Utgångspunkten för uppsatsen är frågan om identitet och Sophie Calles tillvägagångssätt i sina verk. De tre verken beskrivs i sin helhet. Utifrån beskrivningen och litteraturstudier diskuteras olika infallsvinklar på verken. Frågan om identitet prövas med en teoretisk utgångspunkt i psykoanalysen, i huvudsak Jacques Lacans teorier om spegelstadiet. Sophie Calles tillvägagångssätt ses i samband med Roland Barthes teorier om text och läsare. Lek, olika förklädnader och slumpen är viktiga inslag i Calles verk. Slumpen var också viktig för surrealisterna och Calles verk har vissa drag gemensamt med dem. Sophie Calles verk sätts också i samband med konceptkonsten, både vad det gäller utförande, dokumentation av verken och sättet att använda sig av text och fotografi. Calle skiljer sig från konceptkonstnärerna genom att hon är mer personlig och intim i sina verk. Sophie Calles verk är mångfacetterade och kan infogas i flera olika sammanhang.
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Morén, Sol. "Detaljer : i Sophie Calles konstnärskap." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-39273.

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Details - in Sophie Calle artwork, is an investigation where the staritng point is Suite vénitienne, one of the french artist, storyteller and photographer Sophie Calle's early projects, dated back to 1979.
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Kittner, Alma-Elisa. "Visuelle Autobiographien : Sammeln als Selbstentwurf bei Hannah Höch, Sophie Calle und Annette Messager /." Bielefeld : Transcript-Verl, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3039751&prov=M&dok%5Fvar=1&dok%5Fext=htm.

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Rentsch, Stefanie. "Hybrides Erzählen Text-Bild-Kombinationen bei Jean Le Gac und Sophie Calle." Paderborn München Fink, 2008. http://d-nb.info/993984967/04.

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Nachtergael, Magali. "Esthétique des mythologies individuelles : le dispositif photographique de Nadja à Sophie Calle." Phd thesis, Université Paris-Diderot - Paris VII, 2008. http://tel.archives-ouvertes.fr/tel-00640863.

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L'invention de la photographie a permis à l'individu moderne de documenter visuellement et de façon autonome son histoire personnelle. Les avant-gardes au vingtième siècle (surréalistes, situationnistes, artistes conceptuels) ont alors élevé au rang d'art ces traces indicielles des événements de la vie ordinaire ou de processus esthétiques à l'œuvre. Les productions artistiques et littéraires se sont alors recentrées sur l'expérience subjective de l'auteur au quotidien et Nadja d'André Breton marque l'avènement du récit autobiographique moderne illustré de photographies, à la manière d'un reportage sur soi-même. Cette conception du récit fragmentaire et hétérogène rejoint alors la notion de " mythologie " énoncée par Roland Barthes. Le dispositif photographique dans le texte, une des formes narratives privilégiées des médias, impose cette esthétique du récit à partir duquel le sujet moderne configure une apparence d'identité. Barthes dans les années soixante-dix pratique à son tour cette forme de récit-photo, en même temps que des artistes français comme Christian Boltanski dont les pratiques photo-textuelles ont été assimilées à des " mythologies individuelles ". Dans les années quatre-vingts, le principe est baptisé " photobiographie " alors que l'artiste Sophie Calle débute son activité artistique exclusivement consacrée à la production d'un récit de soi en images. Inspiré des cultural studies, ce travail étudie donc chronologiquement l'émergence de l'autobiographie illustrée de photographies, non pas en tant que genre mais plutôt en tant que pratique généralisée, en art et en littérature à travers la notion de " mythologie individuelle " comme esthétique de soi.
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Kittner, Alma-Elisa. "Visuelle Autobiographien Sammeln als Selbstentwurf bei Hannah Höch, Sophie Calle und Annette Messager." Bielefeld Transcript, 2005. http://d-nb.info/986753807/04.

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Demelo, Sarah. "Autobiography and self-portraiture in the works of Christian Boltanski and Sophie Calle." Thesis, University of Essex, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.537927.

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Prieto, Aguaza Alberto. "Imagen fotográfica y textualidad. La obra de Wright Morris, Duane Michals y Sophie Calle." Doctoral thesis, Universitat Pompeu Fabra, 2009. http://hdl.handle.net/10803/7442.

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Aparentment la funció de la imatge és la d'il·lustrar l'acció que es desenvolupa al text i la funció del text és explicar allò que visualitzem a la fotografia. Més enllà d'aquesta complementarietat, les relacions s'amplien a la imatge fotogràfica, davant les imatges sintètiques, pel seu estatus com a index. El diàleg entre ambdós mitjans expressius genera una alteració mútua, d'una banda a les coordenades espai-temps i d'una altra a la noció de referencialitat; és a dir, ni una fotografia és únicament un document real ni un text, és una ficció. S'observen aquestes relacions a les obres de Wright Morris, Duane Michals y Sophie Calle a través d'un element visual i conceptual característic de cada un d'ells -finestra, mirall i ombra- que relaciona la forma de conèixer el món i conèixer el jo.
Aparentemente la función de la imagen es la de ilustrar la acción que se desarrolla en el texto, mientras que éste debe explicar lo que vemos en aquella. Más allá de esta complementariedad, las relaciones se amplían en el caso de la imagen fotográfica, frente a las imágenes sintéticas, debido a su especial estatus como index. El diálogo entre ambos medios expresivos genera una alteración mutua, tanto de las coordenadas espacio-temporales como de la noción de referencialidad: ni una fotografía es sólo un documento real ni un texto literario una ficción. Se observan estas relaciones en la obra de Wright Morris, Duane Michals y Sophie Calle mediante un elemento visual y conceptual característico de cada uno de ellos -ventana, espejo y sombra- que relaciona la manera de conocer el mundo y de conocerse uno mismo.
At first sight, the role of the image is to illustrate the action taking place within a text, whereas this one has to explain what we see in the image. Beyond this collaboration, we find deeper relationships when talking about photographic image, in opposition to synthetic images, due to its special status as index. Dialogue between photography and a so-called literary text creates a mutual alteration, related not only to time and space but also to the question of referentiality: neither a photograph is only a real document nor a text is a fiction. We observe these changes in the works of Wright Morris, Duane Michals and Sophie Calle by means of three visual and conceptual elements -window, mirror and shadow- which connect the way to know the world and ourselves.
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Thorn, Sophie Alexandra. "“The Abuse of Power and Indiscretion": Identity, Mourning and Control in the Work of Sophie Calle." Thesis, University of Canterbury. School of Humanities, 2010. http://hdl.handle.net/10092/4831.

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At the 52nd Venice Biennale in 2007, French artist, Sophie Calle presented for public consumption a starkly simple yet elegant work entitled Pas Pu Saisir La Mort. The work was not only a comprehensive investigation of the Biennale theme for that year of capturing a fleeting moment in life but was also an ethically challenging and confrontational piece. Calle chose to display a video loop from the final moments of her mother Monique Sindler's life. As the title in a childlike manner informs the viewer, the subject of the work is Calle's inability to physically comprehend this moment. She, to add in the poignantly missing referent to the English translation of the title, “couldn't capture death”. Calle prompts the audience not only to watch but to actively look for the universally ungraspable moment of Monique's passing. Pas Pu Saisir La Mort is unique piece which both characterises Calle's work while also marking a departure from her normal style of working. It raises challenging issues of the ethical responsibilities of the contemporary art Biennale and of a more moral nature for the audience by placing them in the intimate role of voyeur. At the centre of aesthetic theory and within contemporary art writing the idea of a connection to universal concepts or notions of an underlying humanity within art is referenced, debated and negated. I believe in Pas Pu Saisir La Mort Calle engages with this discussion through foregrounding the idea of the contemporary sublime and re-evaluates art's connection to modernist universals as illuminated though the recent work of Thierry De Duve in particular his concept of 'nous voici' or work with speaks to the 'we' of humanity.
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Souza, Valdete Nunes Silva. "Um olhar sobre o vazio: imagem e escrita em Douleur Exquise e L'Absence, de Sophie Calle." Universidade Federal de Minas Gerais, 2007. http://hdl.handle.net/1843/ECAP-74QKGK.

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Esta dissertação tem como objetivo geral realizar um estudo sobre a obra de Sophie Calle, a partir das relações entre a escrita e a imagem no livro Douleur exquise (2003) e na trilogia L'Absence (2000). Tendo como eixo a temática da ausência e da memória, buscamos determinar o diálogo entre a fotografia e a narrativa no corpus selecionado, comparando os efeitos do real e do ficcional, verificando o processo de elaboração do texto e da imagem na composição de seus livros. No que se refere à fotografia, a análise se baseia nas pesquisas de Roland Barthes (1984) e de Philippe Dubois (1993). Para cotejar os limites da ficção e da realidade em Douleur exquise são utilizadas as noções de autobiografia, proposta por Philippe Lejeune (1975), e de autoficção, termo difundido por Serge Dubrovsky (1977). As descrições das obras de arte em L'Absence são examinadas à Luz das teorias de Philippe Hamon (1991) e de Liliane Louvel (1977).
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Books on the topic "Sophie Calle"

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Calle, Sophie. Sophie Calle. London: Tate Gallery, 1998.

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Baudrillard, Jean. Sophie Calle. London [England]: Whitechapel Gallery, 2009.

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Calle, Sophie. Sophie Calle. Cluses: Centre d'Art de Flaine, 1987.

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1970-, Ebeling Knut, and Sprengel Museum Hannover, eds. Sophie Calle. Hannover: Sprengel Museum, 2002.

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Lawrence, Rinder, and Hood Museum of Art, eds. Sophie Calle: Proofs. Hanover, N.H: Hood Museum of Art, Dartmouth College, 1993.

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Sophie Calle, l'art caméléon. Paris: Presses universitaires de France, 2007.

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Calle, Sophie. Sophie Calle: True stories. Tel Aviv: Tel Aviv Museum of Art, 1996.

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Sauvageot, Anne. Sophie Calle, l'art caméléon. Paris: Presses universitaires de France, 2007.

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Irmas, Deborah. Sophie Calle: A survey. Santa Monica, CA (912 Colorado Ave., Santa Monica): Fred Hoffman Gallery, 1989.

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Calle, Sophie. Sophie Calle, true stories. [Tel Aviv]: Tel Aviv Museum of Art, 1996.

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Book chapters on the topic "Sophie Calle"

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Lemke, Anja. "„The rules of the game“: Praktiken der Zirkulation bei Paul Auster und Sophie Calle." In Kulturwissenschaftliche Konzepte der Transplantation, edited by Ottmar Ette and Uwe Wirth, 213–28. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110619348-013.

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Stępka, Maciej. "Analysing the Conceptualisation of Remedial Actions Towards the “Migration Crisis” at the EU Level." In IMISCOE Research Series, 131–91. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-93035-6_6.

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AbstractThe chapter is concerned with the conceptualisation of remedial actions, which have been deployed in response to the “migration crisis”. It discusses how the EU frame-narrative has shifted in favour of risk, resilience, and “exceptionality”, leaving human security dispersed among different types of policy actions. With this in mind, the chapter discusses at length the framing and development of specific policy instruments such as the so-called “EU-Turkey deal”, dataveillance systems, the “hot-spot approach”, or reform of Frontex and Europol, to name a few. It also discusses the emergence of resilience as an important security logic. In this respect, it analyses how this relatively new security narrative has heavily influenced EU security and policy discourse on migration and migrants, calling for increased administrative resilience of the EU asylum system, or border security system, to name a few. Further, the chapter discusses how risk management, resilience, “exceptionality” and human security have been intertwining in policy responses to terrorism, trans-border organised crime, as well as in the utilisation of EU military means in increasing resilience outside EU borders. In this respect, it looks into EUFOR “Sophia”, Frontex Joint Operations and EU capacity building and border assistance missions, discussing their securitising features.
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"Sophie Calle." In Verwicklungen des Betrachters, 527–665. Brill | Fink, 2022. http://dx.doi.org/10.30965/9783846767375_017.

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"Sophie Calle." In Visuelle Autobiographien, 293–310. transcript-Verlag, 2009. http://dx.doi.org/10.14361/9783839408728-014.

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"Sophie Calle." In Hybrides Erzählen, 230–32. Wilhelm Fink Verlag, 2010. http://dx.doi.org/10.30965/9783846748855_015.

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"Sophie Calle." In Visuelle Autobiographien, 293–310. transcript Verlag, 2009. http://dx.doi.org/10.1515/9783839408728-014.

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Sauvageot, Anne. "Bibliographie." In Sophie Calle, l’art caméléon, 289–97. Presses Universitaires de France, 2007. http://dx.doi.org/10.3917/puf.sauva.2007.01.0289.

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"RITUAL, DESIRE, DYS-COVERING: SOPHIE CALLE." In Contemporary French Art 1, 95–109. Brill | Rodopi, 2008. http://dx.doi.org/10.1163/9789401206006_009.

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"Droit de réponse à Sophie Calle." In La vie des autres, 255–56. Les Presses de l’Université de Montréal, 2016. http://dx.doi.org/10.1515/9782760635333-010.

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Gratton, Johnnie. "Experiment and experience in the phototextual projects of Sophie Calle." In Women’s writing in contemporary France. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526137999.00019.

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Conference papers on the topic "Sophie Calle"

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Snauwaert, Maïté. "L’œuvre in extremis de Sophie Calle sur sa mère : le deuil comme care." In Pour une littérature du care. Fabula, 2022. http://dx.doi.org/10.58282/colloques.8276.

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Marie-Jeanne Zenetti, sans prénom. "Un bovarysme performé. Scénarisation de soi et posture fictionnelle dans les pratiques artistiques contemporaines, de Sophie Calle à Alain Farah." In Pratiques contre-narratives à l’ère du storytelling. Littérature, audiovisuel, performances. Fabula, 2019. http://dx.doi.org/10.58282/colloques.6031.

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Söğüt, Sibel Gürses. "Projects in Sultanahmet Square in the Late Ottoman Period." In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 6-8 May 2020. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/z_iccaua2021tr0031n18.

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In the 19th century, the foci of the spatial change in the capital of the Ottoman Empire were the squares dating back to the previous period. As buildings were endowed by their builders, the Byzantine forums had disappeared during the Ottoman Empire. During this period, the only place known and named as a square was the Hippodrome (Atmeydanı). To the south of Hagia Sophia, a part of the old Augustaion, whose exact boundaries cannot be determined, turned into a neighborhood. After the fire in 1913 which demolished the neighborhood, the area once more transformed into a square (Hagia Sophia Square). Today, this area is called Sultanahmet Square and is home to one of the first modern indicators of the period, the Darülfünun building, inaugurated in 1863 as university but later used as the Ministry of Justice building. In the blocks overlooking the square, a project for the Zaptieh building to replace the old Finance Administration building came to the fore in 1869, and later in 1871, the first model Central Prison was built next to the Ibrahim Pasha Palace. However, it was demolished in 1939 when the Courthouse was being built, and the prisoners were transferred to the Sultanahmet Jail, built in the “New Ottoman” style in 1918 to the east of Darülfünun. Decorated with symbols of power since the Byzantine, this square continued to be the “central square of the Empire” with different manifestations in the 19th century.
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LI, Jiawei, and Tad Gonsalves. "Genetic Algorithm for Exam Timetabling Problem - A Specific Case for Japanese University Final Presentation Timetabling." In 8th International Conference on Computational Science and Engineering (CSE 2020). AIRCC Publishing Corporation, 2020. http://dx.doi.org/10.5121/csit.2020.101701.

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This paper presents a Genetic Algorithm approach to solve a specific examination timetabling problem which is common in Japanese Universities. The model is programmed in Excel VBA programming language, which can be run on the Microsoft Office Excel worksheets directly. The model uses direct chromosome representation. To satisfy hard and soft constraints, constraint-based initialization operation, constraint-based crossover operation and penalty points system are implemented. To further improve the result quality of the algorithm, this paper designed an improvement called initial population pre-training. The proposed model was tested by the real data from Sophia University, Tokyo, Japan. The model shows acceptable results, and the comparison of results proves that the initial population pre-training approach can improve the result quality.
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Perrin, Anne-Laure, Amal Chabli, Guillaume Razongles, and Olivier Doucet. "Uncertainty calculation of indoor and outdoor performance measurements for PV modules." In 19th International Congress of Metrology (CIM2019), edited by Sandrine Gazal. Les Ulis, France: EDP Sciences, 2019. http://dx.doi.org/10.1051/metrology/201908002.

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Since uncertainties are often overlooked, this analysis highlights why considering uncertainties on PV power or efficiency values is crucial in order to compare published values for different PV technologies. Following the International Energy Agency Report on “Uncertainties in PV System Yield predictions and Assessments” and European FP7 Sophia project, the state of the art of outdoor and indoor uncertainty calculations on PV modules performances is reviewed. Calculation tools are compared and discussed in order to identify the most relevant one. Indoor measurements are based on instantaneous measurements with a dedicated set up: a solar simulator, called “flash-test”. The simulated conditions are close to the standard tests conditions with a stable irradiance, AMG1.5 spectrum and at 25 °C ± 1 °C, which are more stable than outdoor tests. Outdoor measurements are taken performed on variable time periods. Variations over months are commonly observed within ± 5 % that is why averaging on long periods looks relevant to reduce the standard deviation down to 1.3 %. Outdoor measurements are performed close to Chambery in France, under a soft alpine climate, with current-voltage curve tracers. Indoor and outdoor values are finally compared and discussed.
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Hiermaier, Stefan, and Martin Sauer. "Adaptive FE-Meshfree-Modelling for Impacts of Liquid Filled Vessels on Thin Walled Structures." In ASME 2003 International Mechanical Engineering Congress and Exposition. ASMEDC, 2003. http://dx.doi.org/10.1115/imece2003-55189.

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A principal approach to simulate the airplane impact and the collapse of World Trade Center North Tower has been shown by Quan and Birnbaum [4]. Using the general purpose hydrocode AUTODYN the impact damage, fire induced strength reduction and progressive collapse were investigated. Both for the fuel propagation after tank break up and the thermodynamic burn processes assumptions have been taken. It is the aim of this paper to focus on the numerical aspects of simulating the fluid propagation after vessel break up. The release of a fluid out of a broken vessel after impact is not easily represented in a numerical simulation as the fluid flow and its interaction with structures can not be modelled using Lagrangian type element formulations. These elements, typically applied for structural analyses, fail under massive deformation and usually need then to be taken out of the simulation. Typical fluid dynamic discretization methods, so called Eulerian grids, would have to cover the whole space potentially being reached by the fluid flow and are therefore inefficient in a large three dimensional simulation. As an alternative method a coupled discretization using Lagrange elements and Lagrange type meshfree methods is proposed here. Meshfree methods have been introduced to structural dynamics more then ten years ago specifically to simulate processes including large deformation [1]. Originally developed as pure meshfree code, the EMI SOPHIA [3] provides now a new form of adaptivity that allows for more efficiency and accuracy. This is achieved by the use of finite elements as long as deformation is capable for the elements. At definable strain or failure thresholds any element can be transformed into one or more meshfree particles. This way, mass and volume of the original elements are conserved. As the particles interact with each other as well as with the remaining elements, all physical processes can be modelled continuously. The purpose of this study was to contribute to numerical simulation of the airplane impacts into the World Trade Center. It includes impact simulations of cylindrical vessels filled with water against thin walled rectangular shaped bars. It shows that coupled discretizations and specifically an adaptive FE-meshfree discretization offer the flexibility needed to gain both accuracy and efficiency in the simulation.
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