This dissertation is a contribution toward low pressure geochemistry and petrology of alkaline rocks. In order to analyze the phase equilibria in multiply saturated potassic alkaline systems, experiments were performed at one atmosphere pressure and under the $\rm f\sb{O2}\sim QFM$ buffer. Range of temperature covered in this study is 1060-1250$\sp\circ$C. In addition, temperature and composition dependency of low pressure mineral-melt equilibria involving olivine, pyroxenes, plagioclase, nepheline, and leucite were modeled using empirical equations.
The effects of downward gravity wave reflection from atmospheric structure and horizontal winds; the geometry of the wave source and observation region; and the relative importance of the horizontal and vertical transport are being investigated for several different but often used gravity wave models. A quantitative study is also made on the relative importance of the purely gravitationally induced compression (G.I.C.) due to fluid particle altitude change and the actual wave compression which can occur at a fixed altitude in a gravity wave.
Petrographic study of the Deicke and Millbrig K-benonite beds (altered volcanic ash) of Rocklandian age has revealed that they can be distinguished by their non-clay mineralogy. The Deicke phenocryst assemblage is primarily labradorite, Fe-Ti oxides, apatite, and zircon, while the Millbrig assemblage is primarily andesine, quartz, biotite, apatite, and zircon. The Deicke is altered dacitic ash, while the Millbrig is altered rhyodacitic ash.
The petrographic and compositional characteristics of detrital magnetite and ilmenite separated from 31 modern sand samples derived from 8 known igneous and metamorphic parent rocks indicates that magnetite is a useful provenance indicator. In contrast, detrital ilmenite shows no trends with variations in parent rock and its use in provenance research is suspect.
The hydrology of a thin colluvium hillside at the Delhi Pike landslide complex, approximately 15 km west of downtown Cincinnati, is controlled by infiltration and evapotranspiration. Pore water pressures approach $-$10 m H$\sb2$O during summer and autumn, but rise to $-$1 m H$\sb2$O or higher after several days of steady winter rains. This state of near saturation is maintained until large trees leaf out and pore pressures fall dramatically in late spring.
My first attempt at a multi-channel video installation. The work was highly influenced by Nam June Paik’s retrospective at the Whitney and by Steina Vasulka’s “The West”. This piece was produced while I was living and working at the Vasulka’s House/Studio in Santa Fe. I had persuaded them to let me house sit while they spent six months in Japan. Access to their equipment, particularly to 4 adjacent monitors and four ¾” video decks, was what made it possible to compose a multi image work. “Virtual Space” was originally an eight channel work, mounted as two 2X2 stacks of monitors facing each other across a narrow space. Standing in the middle, the viewer had to look back and forth between the two sides. One side (L) is an assembly of footage gathered at the Lightning Field (a land art project in southern New Mexico by artist Walter Di Maria.) The other side (V) features four views of the interior of the Vasulka’s live/work interior as a handheld camera slowly and continuously pans across interior surfaces in the space. Subsequently, each of the 2x2 grids of images composing the two sides (L&V) was transferred to a single tape. These are represented here as LX4 and Vx4.
Demo version of my first attempt at a multi-channel video installation. The work was highly influenced by Nam June Paik’s retrospective at the Whitney and by Steina Vasulka’s “The West”. This piece was produced while I was living and working at the Vasulka’s House/Studio in Santa Fe. I had persuaded them to let me house sit while they spent six months in Japan. Access to their equipment, particularly to 4 adjacent monitors and four ¾” video decks, was what made it possible to compose a multi image work. “Virtual Space” was originally an eight channel work, mounted as two 2X2 stacks of monitors facing each other across a narrow space. Standing in the middle, the viewer had to look back and forth between the two sides. One side (L) is an assembly of footage gathered at the Lightning Field (a land art project in southern New Mexico by artist Walter Di Maria.) The other side (V) features four views of the interior of the Vasulka’s live/work interior as a handheld camera slowly and continuously pans across interior surfaces in the space.