Paleoenvironmental reconstruction of the coastal Monte Léon and Santa Cruz formations (Early Miocene) at Rincón del Buque, Southern Patagonia: A revisited locality

© 2015 Elsevier Ltd.Sedimentological, ichnological and paleontological analyses of the Early Miocene uppermost Monte León Formation and the lower part of the Santa Cruz Formation were carried out in Rincón del Buque (RDB), a fossiliferous locality north of Río Coyle in Santa Cruz Province, Patagonia, Argentina. This locality is of special importance because it contains the basal contact between the Monte Léon (MLF) and the Santa Cruz (SCF) formations and because it preserves a rich fossil assemblage of marine invertebrates and marine trace fossils, and terrestrial vertebrates and plants, which has not been extensively studied. A ~90m-thick section of the MLF and the SCF that crops out at RDB was selected for this study. Eleven facies associations (FA) are described, which are, from base to top: subtidal-intertidal deposits with Crassotrea orbignyi and bioturbation of the Skolithos-Cruziana ichnofacies (FA1); tidal creek deposits with terrestrial fossil mammals and Ophiomorpha isp. burrows (FA2); tidal flat deposits with Glossifungites ichnofacies (FA3); deposits of tidal channels (FA4) and tidal sand flats (FA5) both with and impoverish Skolithos ichnofacies associated; marsh deposits (FA6); tidal point bar deposits recording a depauperate mixture of both the Skolithos and Cruziana ichnofacies (FA7); fluvial channel deposits (FA8); fluvial point bar deposits (FA9); floodplain deposits (FA10); and pyroclastic and volcaniclastic deposits of the floodplain where terrestrial fossil mammal remains occur (FA11).The transition of the MLF-SCF at RDB reflects a changing depositional environment from the outer part of an estuary (FA1) through the central (FA2-6) to inner part of a tide-dominated estuary (FA7). Finally a fluvial system occurs with single channels of relatively low energy and low sinuosity enclosed by a broad, low-energy floodplain dominated by partially edaphized ash-fall, sheet-flood, and overbank deposits (FA8-11). Pyroclastic and volcaniclastic materials throughout the succession must have been deposited as ash-fall distal facies in a fluvial setting and also were carried by fluvial streams and redeposited in both estuarine and fluvial settings. These materials preserve most of the analyzed terrestrial fossil mammals that characterize the Santacrucian age of the RDB's succession. Episodic sedimentation under volcanic influence, high sedimentation rates and a relatively warm and seasonal climate are inferred for the MLF and SCF section.Lateral continuity of the marker horizons at RDB serve for correlation with other coastal localities such as the lower part of the coastal SCF south of Río Coyle (~17.6-17.4Ma) belonging to the Estancia La Costa Member of the SCF.

Imátgenes 19, 20 y 21

Por quinta vez puso cuatro motas de tinta en el papel, les puso nombres (A, B, C, D) y los unió con segmentos para formar un cuadrilátero. Luego señaló los puntos medios de sus cuatro lados y los conectó formando otro cuadrilátero (P, Q, R, S). Ahí estaba el problema. Ese cuadrilátero interior siempre resultaba ser un paralelogramo pusiera como pusiera los cuatro puntos originales. ¿Acaso había orden en el caos? Por un momento pensó que quizá había truco, que tal vez sucedía así porque la gente ponía los puntos de formas similares. Pero ya había probado configuraciones muy raras, incluso dejó que los segmentos del cuadrilátero ABCD se interceptasen, y siempre obtenía idéntico resultado. No, lo que parece cumplirse para cualquier caso no es ningún truco, sino un teorema que demostrar.

The Severn Estuary: Sediments, contaminants and biota. Occasional Publication of the Marine Biological Association 19

This report about the Severn Estuary provides an up to date appraisal of the following issues: Transport and fate of sediments; Transport, fate and trends in contaminants; Bioavailability of contaminants; Consequences for biota, and pinpoints the major knowledge gaps.

Las Comisiones del Mapa de España en la década de 1850

La necesidad de contar con un mapa de base científica que cubriera todo el territorio español llevó al Estado a crear en paralelo varias Comisiones con cometidos geodésicos, topográficos y cartográficos durante la década de 1850. La labor simultánea de estas Comisiones se prolongó hasta 1859, cuando se aprobó la Ley de Medición del Territorio, que las fusionó en un único organismo. Este artículo analiza aspectos técnicos de los trabajos que realizaron estas Comisiones a partir de la información contenida en algunos documentos que custodia el Archivo Topográfico del IGN. Las conclusiones que se extraen son que estas Comisiones acometieron operaciones geodésicas que resultaron cruciales en el establecimiento ulterior de la red de triangulación peninsular, realizaron mediciones topográficas que fueron reutilizadas veinte años después en el levantamiento del Mapa Topográfico Nacional, e idearon las características catastrales que fueron adoptadas durante todo el siglo posterior para el Catastro de España.

The "Art" of Criticism: Rubén Darío and his Unknown Chronicles of the 1895 Salon for "La Prensa"

With the impetus that has led recent studies on Latin American Modernism to a reevaluation of the sense of cultural fluxes from the modernity capitals to its peripheries –discarding categories such as “influence”, “exotism” and “ivory tower”, stereotypes that have clouded critical understanding of this aesthetics for decades- the present study intends to investigate a persistent practice of the main writers of the movement. This practice is modernist pictorial criticism, a genre that will be approached through the analysis of an unknown corpus: the seven chronicles Rubén Darío published in the journal La Prensa on occasion of the third art exposition of the Ateneo de Buenos Aires. Our hypothesis is that the rare creators of images portrayed by Darío by the end of 1895 work as a visual counterpoint of the eccentric writers’ biographical sketches that a year later will be part of the fundamental volume Los raros (1896). In this early “salon”, which we reproduce in its entirety, accompanied by explanatory notes, the leader of Modernism rehearses and consolidates his transcultural work with the universal tradition –now applied to the Salons (1845-1860) by Charles Baudelaire and to the monumental project by John Ruskin in Modern painters (1843-1860)- to legitimate, from another subgenre of Modernist criticism, a new figure of the critic, in dissent with the Enlightenment model of the writer.