deposition

Deposition is the geological process by which sediments, soil, and rocks are added to a landform or land mass. Fluids such as wind and water, as well assediment flowing via gravity, transport previously eroded sediment, which, at the loss of enough kinetic energy in the fluid, is deposited, building up layers of sediment.

Deposition occurs when the forces responsible for sediment transportation are no longer sufficient to overcome the forces of particle weight and friction, creating a resistance to motion, this is known as the null-point hypothesis. Deposition can also refer to the buildup of sediment from organically derived matteror chemical processes. For example, chalk is made up partly of the microscopic calcium carbonate skeletons of marine plankton, the deposition of which has induced chemical processes (diagenesis) to deposit further calcium carbonate. Similarly, the formation of coal begins with deposition of organic material, mainly from plants, in anaerobic conditions.

Ein Tag in dem Museum für Naturkunde

A few beauties from the Natural History Museum Berlin

Anthropolithology & Lithopathy

Terminology-in-progress: The search for a neologism able to express the aspect of my artistic research related to lithic categories in the fields of paleontology, anthropology, paleoanthropology, archaeology, and geology. 

Some other experiments include: anthropolithic -ology; lithic-anthropomorphism;
geo-anthropomorphism; lithic / geo-archaeology / anthropology; archaeolithic -ology

anthropology |ˌanTHrəˈpäləjē|
the study of humankind, in particular:• (also cultural or social anthropology) the comparative study of human societies and cultures and their development.• (also physical anthropology) the science of human zoology, evolution, and ecology.

anthropomorphism |ˌanTHrəpəˈmôrˌfizəm|
the attribution of human characteristics or behavior to a god, animal, or object.

archaeology |ˌärkēˈäləjē| (also archeology )
the study of human history and prehistory through the excavation of sites and the analysis of artifacts and other physical remains.

geology |jēˈäləjē|
the science that deals with the earth’s physical structure and substance, its history, and the processes that act on it.

paleontology |ˌpālēˌənˈtäləjē|
the branch of science concerned with fossil animals and plants.

anthropo– |ˈænθrəˌpoʊ|
comb. form: human; of a human being: anthropometry.• relating to humankind: anthropology.

lithic |ˈliTHik|
chiefly Archaeology & Geology of the nature of or relating to stone

lithology |liˈTHäləjē|
the study of the general physical characteristics of rocks.

geo– |ˈʤioʊ|
comb. form: of or relating to the earth: geocentric | geochemistry.

–pathy
comb. form: denoting feelings

Image Stones

Works in progress.

Stone collection. Scanning. Culling.

Image compilation, appropriation, and manipulation. Layering. Amalgamation. Fossilisation. Image stones.

 

Sutherland, digital image of scanned, found stone

Peas Shaestind (working title), image amalgamation through google-image-search erosion

Kris Martin

from Saatchi Gallery Profile:

Standing on top of each of the large megalith-like boulders that comprise Summits (2009), Kris Martin’s eight-part found rock installation, is a small marker. When, and if, spotted, these identifiers change the viewer’s perspective and turn the room’s vaguely prehistoric ambiance into less numinous territory. A small paper cross crowning each peak indicates that they have all been conquered, and by using a charged symbol whose real-life application connotes a range of meanings – of man conquering the limits of awe-inspiring nature, of a civilisation conquering another civilisation, of death conquering all – Martin sets in motion a stark thinking process.

Within the artist’s visual pun there’s also perhaps a metaphor for the importance of process in art-making itself. “The top is nice when you haven’t reached it,” Martin has said. “But once you get [there], the potential is gone. Dreams are what keep people going.”

Martin’s conceptual installation, repeating the same conceit eight times over, is a comment both on the futility of human ambition – what is left once seemingly unreachable summits have been conquered? – and also on the oppressive and absurd spread of consensual, hegemonic belief.

Reminiscent in their exotic roughness of the blue, impossibly steep and faraway mountains that steal the fantastic landscapes of Joachim Patinir and his 16th century contemporaries, these lifeless stand-ins humorously exaggerate the heights to which human foolishness and its quixotic desire can rise. “For me, they’re all very dangerous, mountains… They’re filled with a dangerous power, especially for puny little human beings, like we are.”