Biostratigraphy and paleobiogeographic affinities of the Jurassic brachiopod assemblages from Sierra Espuña (Maláguide Complex, Internal Betic Zones, Spain)

The assemblages of Early Jurassic brachiopods (Pliensbachian - Toarcian) from Sierra Espuña (Murcia Province, SE Spain) are described. This is the only area in the Internal Zones of the Betic Cordillera, corresponding to the margins of the Alborán Terrane, where Jurassic brachiopods are known to occur. In the tectonic Unit of Morrón de Totana (more southward located) assemblage MT1 of Late Pliensbachian age has been characterized. This assemblage has been subdivided into three successive sub-assemblages: MT1a (Algovianum Zone), MT1b (Emaciatum Zone, Solare Subzone) and MT1c (Emaciatum Zone, Elisa Subzone). Northward, in the Perona tectonic Unit two distinct assemblages, P1 (Latest Sinemurian - Early Pliensbachian) and P2 (Early Toarcian, Serpentinum Zone) have been recognized. Differences between the assemblages from the two tectonic units are evident after the paleobiogeographical analysis. In the Morrón de Totana Unit, taxa with Mediterranean affinities occur. MT1 assemblage is very similar to assemblages previously known in the Eastern Subbetic as well as in other areas of the Mediterranean Province. In the Perona Unit the Mediterranean affinity of the assemblages is not so evident. P1 Assemblage consists of widely distributed taxa, lacking in the most characteristic elements of the Mediterranean Province which, however, are present in neighbouring Betic areas. P2 Assemblage belongs to the Spanish Province that develops in Western Tethys after the Early Toarcian Mass Extinction Event. The occurrence in this assemblage of Prionorhynchia aff. msougari Rousselle, until now only found in North Africa, indicates a closer connection of the Perona Unit with the African paleomargin of the Tethys than with the South Iberian paleomargin. The paleobiogeographical data suggest a more southern and marginal (close to epicontinental areas) position of the Perona Unit than the Morrón de Totana Unit.

Technologies for Seduction: The “Espacio Doméstico” VideoArt Center in Blanca [EDOM]

Sustainability, understood in its beginnings as a common horizon for multiple practices and fields of study, has gradually given way to the development of increasingly sophisticated tools, with distinct dominant meanings established for each discipline. Within the field of material technologies for architectural production, sustainability seems to have found its most fertile ground in topics such as recycling, the use of "bio" materials, or energetic efficiency. However, to improve the understanding of the impact of technology on our ways of living, it appears increasingly necessary to move from the deterministic logic of sustainability into the relational domain of ecology, where the use and deployment of technologies can be observed through the multiplicity of its effects and the diversity of actors involved. In this paper we will address the case of the rehabilitation of several traditional houses located in the Murcian town of Blanca to host the “Espacio Doméstico” VideoArt Center (EDOM). In this action the selection and implementation of technologies have been aimed at impacting on diverse aspects including local communities, digital manufacturing, recycling, and policies regarding the rehabilitation of heritage buildings. While the initial approach was to address housing recovery as a heterogeneous accumulation of stories, technologies or material deployments of the domestic, our intervention strategies ascribed to the different technologies the role of mediating with existing elements through the incorporation of the very different visions of sustainability. Thus, we displayed artifacts produced by digitally manufactured methacrylate assembled on IKEA structures, fluorescent power lines supported by insulators on the wall, fluorescent tattoos on walls and ceilings that guide and extend the configuration of existing flooring, esparto furniture and fabrics produced by the esparto women workers’ and village women’s associations, re-appropriations of old furniture through the implementation of new media technologies, etc. If we can see seduction as the process of converting affinities and disagreements into affirmative communication, then the EDOM proposal can be seen as an active seduction process between technologies and users who approach this kind of cultural artifacts. Through these permanently active processes, art technologies will refer the viewer to complex sensory experiences, where a combination of parody, memory and sound pushes the user to the limit of mere comprehension of works of art. This more relational approach to the issue of heritage rehabilitation, technology or art institutions is offered as an area of controversy and debate on the scope of political ecology and its potential impact on the architect’s professional practice.