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At the left side of the OuedTamri mouth, a palaeo-sea-level (Unit 1) consists of marine and fluvio-marine deposits at ca. + 6 m a.s.l. The U/Th dating method applied to one marine shell of Patella sp. has yielded ages of 100,02 ± 1,662 ka and 101,188 ± 1,339 ka (MIS5.3) The overcoming dune (Sx) is dated at 84 ± 4 ka by OSL (MIS5.1). At TighrineImksaoun (200 m South of the mouth) the same MIS 5.3 palaeo-sea-leveliscovered by coastaldune sands and colluvial deposits on more than 20 m thickness. The latter show numerous interstratified red palaeosoils and calcretes which indicate run-off at intermediate moisture-periods, and enable to distinguish three main units (U2, U3, U4): (U2), lower Aeolian interdune accumulation Unit, mainly of colluvial and run-off detritic facies, numerous land-snails, and scarce lithic artefacts; (U3), middle aeolian accumulation Unit, with several series of dunes separated by palaeosoils and calcretes; the dune (S5) is dated at 92 ± 6 ka (MIS5.3 or MIS5.2) by OSL, and the palaeosoil (S6) countains a lithic industry with cleavers; (U4), upper, not well consolidated, aeolian accumulation Unit, lying on a calcreted basal palaeosurface (S6/S7) where Epipalaeolithic (?) artefacts are found; the uppermost serie (S8) was 14C dated at more than 30 ka on Ostrich eggs. The geomorphologic, sedimentologic and petrographic analyses helped us to build a sedimentary model of accumulation at the foot of a dead-cliff,model that is expected to resolve the apparent inconsistence between the position of the lithic industries and the dating results.

Robert Smithson is stated to be one of the artists who initiate Land Art. Also an amazing writer, his texts cast a singular light upon his visual work. If we can consider landscape as a medium for his earthworks, Smithson has also wrote about this genre/category that spread all across the modern era. As we're making for a definition of landscape through his writings — an obvious task at first sight, a difficult one when getting closer —, we chose two papers. One text follows a demonstration close to art history while studying the way Frederick Law Olmsted reads the picturesque theoretical work of Uvedale Price in order to build Central Park landscapes. The other, from the iconographical standpoint of painting some religious topic, describes with a more prophetical tone how sacred and secular matters are entangled together through the issue of producing modern art. A link between those two statements is to be found among the "background games" that characterize a picturesque which, according to Johanne Lamoureux, is coming back in the middle of the eighties, ten years after Smithson death. From a concept of accident and scar to a more subjective definition attached to the image, a picturesque quality can root itself into Giorgione Tempest, according to an epicurean reading of Nature traced back by Stephen Campbell. Some "natural order" of observation should teach us about the world and its strengths, a knowledge of the outside.