Eleven dinoflagellates, acritarchs, and pollen biozones have been identified in Upper Eocene to Pliocene sediments combined from MuS, Tekman, Tercan-ASkale, Pasinler-Horasan basins and the Bayburt-Kars Plateau in this study. FAD&amp / #8217 / s of Compositae (tubuliflorae type), Slowakipollenites hipoph&auml / eoides, Mediocolpopollis compactus, Monoporopollenites gramineoides and Umbelliferae at the base of Rupelian, FAD of Wetzeliella gochtii in the middle Rupelian, LAD of Ascostomocystis potane in the late Rupelian, LAD of Wetzeliella gochtii in the latest Rupelian, LAD of Deflandrea spp. in the latest Chattian, peak occurrences of Chriptoredium spp. in the early and late Aquitanian, FAD of Hystrichosphaeropsis obscura, followed by FAD of Membranilarnacea ?picena in the late Aquitanian should have particular emphasis for palynostratigraphic divisions in regional correlations and indicate that a continuous deposition took place in Eastern Anatolia from Late Eocene to the end of the Early Miocene. A relatively deeper marine deposition prevailed during the Late Eocene, which was followed by a shallowing-upward deposition during the Oligocene in MuS, Tekman, Tercan-ASkale, and Pasinler-Horasan basins. These basins were also characterized by an Early Miocene regional transgression, and terrestrial (lacustrine and fluvial) deposition during the Late Miocene-Pliocene whereas terrestrial conditions have been predominating since Late Eocene in the Bayburt-Kars Plateau. Paleoclimatological reconstructions of Eastern Anatolian Oligocene-Miocene sediments suggest temperate to subtropical climates in which mean annual temperatures vary between 15,6 to 21,3 &deg / C, mean temperatures of the coldest and the warmest month are 5.0 to 13.3 &deg / C and 24.7 to 28.1 &deg / C, respectively, and mean annual precipitation is 1122.0 to 1522.0 mm.

This study aims to enlighten microfacies evolution and micropaleontological properties of the Tournaisian &amp / #8211 / Visean boundary in Aladag Unit (Central Taurides, Turkey). Two sections comprising dark shale and dark limestone alternations, including a fairly dolomitized part towards their top are measured. The microfacies analysis suggests a subtidal depositional environment. Foraminiferal assemblages were distinguished at Section AP and biozonation was documented. The biozonation separates the measured section into three zones, described as A, B and C. Zone A is scarce foraminifera fauna, and mainly contains Earlandia sp. Zone B is defined by appearance of a diversified foraminifera fauna and the first appearance of Lugtonia monilis (Malakhova, 1955) with Eoparastaffella sp. (morphotype 1). Zone C is defined according to the first appearance of Eoparastaffella simplex (Vdovenko, 1964) (morphotype 2) and foraminifers Laxaendothyra ex. gr. laxa. Tournaisian &amp / #8211 / Visean boundary is defined at the 60th sample, due to appearance of Eoparastaffella simplex (Vdovenko, 1964) (morphotype 2). Seven microfacies types in section AP, and six microfacies types in section PA are identified and, the intensely sampled part of the measured section AP is separated into 13 shallowing upward meter-scale cycles. These cycles, showing subtidal character are detected by both repetitions of microfacies and changes in abundance of foraminifers. A contrasting evaluation of the Tournaisian &amp / #8211 / Visean boundary of Taurides with Guangxi, South China and Dinant, Belgium is presented. The Chinese stratotype contains a diverse, more complete fauna of Tournaisian - Visean foraminifera, while the Belgium and Turkish sections are scarcer and most probably facies controlled.

One of the central theoretical tenets of linear perspective is that it is based upon the idea of a monocular observer. Our lived perception, also referred to in the Renaissance as perspectiva naturalis, is always rooted in binocular vision, however, the guidelines for perspectiva artificialis often imply a single peeping eye as a starting point. In the early modern period, a number of rare art forms and instruments follow the prescriptive character of linear perspective to ludic ends. By focusing on this special class of what I would call 'monocular art forms', I will analyse the extent to which the perspectival method has been successfully applied in material form beyond the classic two-dimensional paintings. This special class of objects include: anamorphosis, peep-boxes, catoptrics, dioptric perspective tubes, and perspective instruments. It is my intention to draw attention to the different ways traditional perspectival paintings, exceptional cases such as perspective boxes and anamorphoses, and optical devices were encountered in the early modern period. In this thesis I will be examining the specific sites of each case study in depth so as to describe the various contexts - aristocratic, intellectual, religious - in which these items circulated. In Chapter 1 I illustrate a special class of perspective and anamorphic designs that confined their illusions to a peepshow. Chapter 2 examines one of the most consummate applications of the monocular principle of perspective: seventeenth-century Dutch perspective boxes. In Chapter 3, monocular catoptric designs are studied in light of the vogue for mirror cabinets in the seventeenth century. Chapter 4 examines the innovative techniques of drawing machines and their collection in early modern courts through close study of the 'perspectograph'.

Ancrer le goût comme liant plastique dans un processus artistique et gastronomique, c’est construire la liberté d’un langage surréaliste, transposant et faisant exister le gustatif comme émotif et motif graphique. Points, lignes, couleurs sont offerts au spectateur dans la jouissance esthétique d’une dégustation. Manger l’art invite à redéfinir l'essence de la gastronomie, une esthétique du goût dans le champ des arts plastiques. Je vous propose une entrée plastique pour saisir l'art culinaire et inversement une entrée gustative pour apprécier l'art. Des fonds noirs de Francisco de Zurbarán, aux noirs torréfiés de Michel Bras, comment traduire la sacralisation du goût comme expérience sensible de l’ordre du plastique et de l’esthétique au sein d’une démarche artistique ? Du concept à la pratique participative, l'espace-assiette devient espace architectural et en définitive espace gourmand. L'espace architectural étant le moteur des projets plastico-gastronomiques, c'est à partir du corps de l’espace que les installations comestibles sont créées, afin que la gourmandise, concept imaginaire et impalpable se concrétise en œuvre d'art totale. Chair d’une couleur intime, la gourmandise se révèle dans l’incorporation d’une offrande à partager. / Introducing taste as a fine art ingredient in the artistic and gastronomic process is a way of building a free and surrealist language, by which the gustatory becomes a graphic pattern. Dots, lines, colors are given to the viewer as an aesthetic and pleasurable tasting. Eating art invites you to redefine the essence of gastronomy and the aesthetic of taste in the field of fine art. It is an artistic starter to understand culinary art, and a culinary starter to appreciate fine art. From Zurbaran dark backgrounds to Bras roasted blacks, how to translate the (sacralisation) of taste as a sensitive, aesthetic and artistic experience? From a concept to a shared practice, the space-plate becomes an architectural space and, finally, a gourmet space. The architectural space being at the start of the artistic and gastronomic projects, the edible installations are created from the (space body/structure), so that the “gourmandise”, an immaterial and imaginary concept, takes shape in a total art work.

Memoria (licenciado en ciencias jurídicas y sociales) / El objetivo de la presente monografía es sistematizar y analizar la tributación a la renta de la actividad forestal, específicamente de la explotación de bosques

La thèse prétend discuter des analogies intimes révélées entre le travail de l’art conceptuel tel qu’il est conçu par Joseph Kosuth, comme un processus de production de sens, et le travail analytique tel qu’il est élaboré par Sigmund Freud. Elle travaille donc à partir de l’interface entre l’art et la psychanalyse comme deux expériences de production de signification. Elle interroge le sens à partir des particularités inhérentes à chacun des discours et des pratiques concernés, mais aussi à partir de ce qui semble les réunir, à savoir : les mécanismes impliqués dans la production de sens au sein de l’art conceptuel comme de la psychanalyse conduisent à une expression hybride relevant des rapports entre le langage et l’image, entre un discours qui se poste aux limites du dicible et une image qui se place aux limites du visible.L’hybridité du sens relève d’une incertitude intellectuelle, d’un franchissement des limites et d’une ambiguïté impliqués dans la notion de l’Unheimlich. Cette dimension singulière de l’expérience humaine concerne le sujet de l’inconscient et la création artistique. En suivant les déclarations de Joseph Kosuth lui-même, son travail relèverait de l’Unheimlich. La thèse analyse ainsi l’expérience procurée par l’art conceptuel à partir de cette notion qui apparaît dans l’oeuvre freudienne en 1919 dans le cadre d’une investigation sur l’esthétique.Freud ne parle de l’esthétique en tant que théorie du beau mais comme effet affectif procuré par l’oeuvre d’art. De notre côté, nous soutenons l’idée selon laquelle la création artistique relèverait toujours de l’affectivité, même si cette question peut s’avérer controversée dans le contexte de l’art conceptuel. C’est dans ce sens que nous analysons l’expérience procurée par le travail de Kosuth, c’est-à-dire comme une expérience affective de l’ordre de l’Unheimlich / This thesis proposes to discuss the analogies revealed between conceptual art work, as it is conceived by Joseph Kosuth, as a meaning production process, and the analytical work as elaborated by Sigmund Freud. We then work from the interface between art and psychoanalysis as two meaning producing experiences. We question the meaning from the particularities inherent in each of these discourses and practices involved, but also from what it seems to bring them together, namely: the mechanisms involved in the production of meaning in conceptual art as well as in psychoanalysis lead to a hybrid expression indicating the relationship between language and image, between a discourse that lies within the limits of the sayable and an image that is located within the limits of the visible.The hybridity of sense sends us to an intellectual uncertainty, a crossing of limits and an ambiguity that are related to the notion of Unheimlich. This singular dimension of human experience concerns the subject of the unconscious and artistic creation. Following the statements of Joseph Kosuth himself, his work fits into the dimension of Unheimlich. This thesis then analyzes the experience raised by conceptual art from this notion that appears in the Freudian work in 1919, in the context of a research on aesthetics.Freud doesn’t speak of aesthetics as a beauty theory, but as an affective effect promoted by the work of art. From our point of view, we hold the idea that artistic creation is always related to affectivity, even if it is a controversial issue with regard to conceptual art. It is in this sense that we analyze the experience promoted by the work of Kosuth, that is, as an affective experience of the order of the Unheimlich.

Geography’s engagement with art has a long and varied history which, consistent with broader disciplinary developments, has progressed beyond a focus on the representational content of art products to consideration of artistic practices and experiences. However, persistent tendencies to consider artist, artwork and artistic spatiality as distinct and essential render the ‘geography of art’ under-equipped to address the emergence through artistic practice of particular, contingent, mutable and excessive spatialities and subjectivities. With its emphases on practice, affect and experimentalism, I draw on geographical and psychological non-representational thinking – philosophically, methodologically and analytically – to generate an account of such emergent spatialities and subjectivities. I explore artistic, material and implicit means through which they emerge, from within artistic practice, on both an experimental and auto-ethnographic basis. Working alongside participating artists, I varied the spatial and material conditions of our respective practices to encourage participants to do, think about and articulate their artistic practices differently, and employed interview techniques intended to facilitate access to and articulation from implicit or pre-reflective understanding. Four substantive papers consider different aspects of artistic practice in the context of different theoretical literatures. Through these papers, I argue that artistic practice is a form a mythological thinking without explicit mythic content, and identify paired reciprocal processes of interrogation through which spatialities and subjectivities emerge. I propose that the combination of experimentalism and particular material affects within artistic practice sustains a skills-challenge imbalance, which drives further experimentation and generates increasingly individualized practices. I also argue that artistic practice provides both access to and articulation from implicit understanding, allowing the conveyance of implicit meaning both on its own artistic terms and by facilitating explication into linguistic form. I conclude that, collectively, these varied aspects of artistic practice constitute interpenetrative processes whereby the material and implicit function as one, and that by attending to these processes through the creative and analytical means introduced here, geography’s capacity for a non-representational understanding of artistic practice is greatly enhanced.

Curating Resistances focuses upon the socially interventionist and activist agendas of two contemporary art biennials in Europe during and in response to the current economic crisis. This thesis seeks to untangle their tensions, conflicts and intimate socialities as they evolve against the backdrop of neoliberalism, austerity, crisis and the rise of Occupy cultures. Drawing upon primary ethnographic research on the 3rd Athens Biennale (2011) and the 7th Berlin Biennale (2012), as well as on the examination of curatorial, journalistic and archival documents, I argue for an approach that takes into consideration the threefold nature of these sites, as institutions, organizations and events. A central area of investigation is the post-1990s curatorial idea of strategically occupying the institution from within and mobilising it as a space of radical knowledge production. This idea gave rise to a model of exhibition-making, that I call the ‘discursive exhibition’, which shapes the vocabulary and forms of curating cultures at least since documenta X (1997). I argue that this model was challenged during the European crisis through the post-2010 art activism that brought ideas related to class, labour and the commons to the centre of debates on art and politics. Through their attempts to radicalise in response to such challenges, I argue that the two biennials I examine expose the limits of biennials as sites of activism and political resistance. In employing the research perspectives of place and translocality, terms borrowed from cultural geography, I argue that rather than imposing a global art language, biennials unfold through complex socio-spatial dynamics, manifesting a remarkable capacity to absorb, remediate and repurpose their surrounding environments. By discussing how a series of failed statements, border-crossings, internal conflicts, withdrawals, police interventions and press spectacles interconnect with the biennial’s organizational and institutional dynamics, this thesis navigates through the translocal tensions played upon the materiality, infrastructures and economies of curating resistances.

The sequential extraction scheme BCR 701 has been applied to the upper 2 cm layer of 39 sediment samples from Inner Kingston Basin, Ontario. The samples were also been characterized by water content, loss on ignition at 550°C and 950°C and by particle size distribution. Methodological problems occurred during particle size analysis, caused by agglomerating effects, mainly driven by organic matter, which is fairly resistant against oxidation by hydrogen peroxide due to natural manganese dioxide particles in the sediments. This leads to an overestimation of the clay content. For the same reason, the digestion in step 3 of the sequential extraction was insufficient, so that typical organic bound metals were found in the residual fraction. From factor and cluster analysis of all data three main substrate element associations were derived: The carbonate group contains Ca, Sr, LOI 950°C from calcite, and in step 2 additional Mg extracted from dolomite. Secondly, the organic associations include LOI 550°C, water content and clay content, and finally the metals (except from carbonate bound metals) which are more or less linked to the organic associations. Regionalized maps using inverse distance weighting or ordinary Kriging have been judged to be less precise and informative than point data maps using a classification following equal standard deviation distances and additional statistical information, box plots and histograms. Compared to the geogenic background, all samples show a significant metal enrichment in the mobile fractions, so that they could easily be remobilized during changing environmental conditions. Higher enrichment rates have been detected around the city of Kingston, mainly the harbour region, and close to the outlet of Kingston s sewage treatment plant. Generally, local contamination can easily be detected and differentiated according to their origin from sequential extraction data.

En efterfrågan efter mer informativa revisionsberättelser har över tid växt fram, vilketledde till att The International Auditing and Assurance Standards Board (IAASB) år 2015introducerade ISA 701: “Communicating Key Audit Matters in the Independent Auditor’sReport”. ISA 701 är en ny standard som innebär att revisorer ska inkludera områden somde finner vara av särskild betydelse i företaget under revision i sin revisionsberättelse,vilket började gälla på finansiella rapporter för noterade bolag avseende perioder somslutade på, eller efter, 15:e december år 2016. Med införandet av dessa Key Audit Matters(KAM) är IAASB:s förhoppning att revisionens värde för användarna av de finansiellarapporterna ska öka genom att mer företagsspecifik information görs tillgänglig irevisionsberättelsen samtidigt som revisionsprocessen i sig blir mer transparant.Tidigare forskning kring KAM har visat på blandade resultat. Många experimentellastudier har pekat mot att KAM har viss effekt på investerarna och deras beslut, medan deflesta arkivstudierna som gjorts på KAM, eller utökade revisionsberättelser i andraformer, sällan har visat på några märkbara effekter av KAM. Vi vill bredda forskningentill den svenska aktiemarknaden och undersökte därför vilka effekter KAM hade påStockholmsbörsen.Utifrån tidigare forskning och teorier som effektiv marknadshypotes, agentteorin ochinformationsasymmetri formulerade vi tre hypoteser att testa. Den första kollar påförstagångseffekten av KAM år 2016 och ifall antalet KAM spelade någon roll. Den andrahypotesen handlar om ifall förändring i ett företags KAM leder till någon reaktion påmarknaden och den tredje hypotesen undersöker ifall det finns något samband mellanöveravkastning och vilken lista bolag är noterade på.I syftet att se hur investerarna påverkas av KAM utförde vi en händelsestudie för attundersöka marknadens reaktion på publiceringen av revisionsberättelsen. I linje medmånga liknande studier använde vi Cumulative Abnormal Returns (CAR) för att mätainvesterarnas reaktion i form av överavkastning under perioden runt omkringpubliceringen av årsredovisningen och revisionsberättelsen.Den här studiens resultat finner inget stöd för att det fanns någon förstagångseffekt avKAM år 2016 utifrån antalet KAM, men finner däremot svagt stöd för att antalet KAMhade effekt CAR år 2021. Vidare fann studien inget stöd för att en förändring i KAM hadenågon effekt och heller inte något stöd för att listan som ett företag är noterat på hadenågot samband med överavkastning.