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Geeta Chandran (Delhi) - Bharatnatyam - 20 October 2010 (Wednesday)
Geeta Chandran has been trained by eminent Bharatanatyam gurus, including Smt Swarna Saraswathy and Guru KN Dakshinamurthi Pillai. She has ably synthesized her eclectic training to present unique dance presentations in which she skilfully weaves abstract notions of joy, beauty, values, aspiration, myth and spirituality. Celebrated for her composite understanding of Bharatanatyam, Geeta is also an accomplished Carnatic vocalist. She is known for her work in television, film and theatre as also in dance education, activism and journalism. She is the founder-president of Natya Vriksha where she teaches and promotes Bharatanatyam. She is also the artistic director of the Natya Vriksha Dance Company, which has travelled all over the world with its superb dance presentations. Geeta has received many prestigious awards and fellowships, including the Padma Shri.
Presentation
In Revision, her presentation for the evening, Geeta Chandran and her Natya Vriksha Dance Company present a selection of classical numbers from the Bharatanatyam repertoire. It is suffused with the dancer’s focus on choreographic processes of intent, content and context. The intent is to celebrate the pristine classicism of Bharatanatyam. Through her Thanjavur bani, Geeta uses the adavu as the basis of her revision. This basic unit of Bharatanatyam is cast and recast in prismatic formations. The content remains the classical. The traditional Mallari, Alarippu, Padam and Tillana form the basis of Geeta’s revision. The context is what’s been altered. Since a solo dance is transformed into a group experience, the inter-body connections create new contexts for movement. There is also the context of the space in which the pieces are being performed. The grandeur of the dance has been re-contextualized for the Purana Qila monument.
For Zahrah Alghamdi, material and memory are inextricably intertwined. Many of her works involve large accumulations of material that seemingly layer the histories and cultures of the places from which they come. When Alghamdi, who grew up in the southwestern region of Saudi Arabia, visited Palm Springs, she was struck by the connection between the desert landscapes and architectures. For Desert X, she has created a sculpture that echoes and synthesizes the traditionally built forms from her country with the architectural organization she found in the Coachella Valley. The result takes the form of a monolithic wall comprised of stacked forms impregnated with cements, soils, and dyes specific to each region. It expresses a highly individualized language corresponding to feelings, emotions, and memories associated with place and time.
Zahrah Alghamdi (Al Bahah, Saudi Arabia, 1977) explores memory and history through traditional architecture in both medium and assemblage. Her laborious and meticulous process involves assembling particles of earth, clay, rocks, leather, and water. Her medium and process draw on the notion of “embodied memory” to translate and delineate themes of cultural identity, memory, and loss. Alghamdi represented Saudi Arabia in the 2019 Venice Biennale and participated in Desert X AlUla 2020.
ESPAÑOL
Para Zahrah Alghamdi, el material y la memoria están estrechamente entrelazados. Muchas de sus obras condensan grandes cúmulos de material cual si fuesen estratos superpuestos de historias y culturas de los sitios de donde provienen. Alghamdi creció en Al Bahah, en la región suroeste de Arabia Saudita, y cuando visitó Palm Springs quedó impresionada por la conexión entre los paisajes y las arquitecturas del desierto. Para Desert X, creó una escultura que sintetiza y hace eco a las formas de construcción tradicionales de su país con la organización arquitectónica que encontró en el Valle de Coachella. El resultado toma la forma de un muro monolítico compuesto por elementos apilados, impregnados de cemento, tierra y tinturas específicas de los procesos de edificación de cada región; expresando un lenguaje sumamente personal que atañe a sentimientos, emociones y recuerdos asociados a un lugar y a un tiempo.
Zahrah Alghamdi explora memoria e historia a través de la arquitectura tradicional como medio y montaje. Su trabajo y meticulosos procesos comprenden el ensamblaje de partículas de tierra, arcilla, rocas, cuero y agua. La noción de “memoria encarnada” sirve como base de producción y prácticas para traducir y delinear temas de identidad cultural, memoria y pérdida. Alghamdi representó a Arabia Saudita en la Bienal de Venecia 2019 y participó en Desert X AlUla 2020.
What Lies Behind the Walls
33.964250, -116.484250
Pierson Boulevard between Foxdale Drive and Miracle Hill Road, Desert Hot Springs
On view from sunrise to sunset
Generous support is provided by Ba’a Foundation.
Anno 1909, one of masterpieces of architect Eižens Laube.
Elements of National Romanticism and vertical Art Nouveau style are synthesized in the building's peculiar architectural and artistic image.
Geeta Chandran (Delhi) - Bharatnatyam - 20 October 2010 (Wednesday)
Geeta Chandran has been trained by eminent Bharatanatyam gurus, including Smt Swarna Saraswathy and Guru KN Dakshinamurthi Pillai. She has ably synthesized her eclectic training to present unique dance presentations in which she skilfully weaves abstract notions of joy, beauty, values, aspiration, myth and spirituality. Celebrated for her composite understanding of Bharatanatyam, Geeta is also an accomplished Carnatic vocalist. She is known for her work in television, film and theatre as also in dance education, activism and journalism. She is the founder-president of Natya Vriksha where she teaches and promotes Bharatanatyam. She is also the artistic director of the Natya Vriksha Dance Company, which has travelled all over the world with its superb dance presentations. Geeta has received many prestigious awards and fellowships, including the Padma Shri.
Presentation
In Revision, her presentation for the evening, Geeta Chandran and her Natya Vriksha Dance Company present a selection of classical numbers from the Bharatanatyam repertoire. It is suffused with the dancer’s focus on choreographic processes of intent, content and context. The intent is to celebrate the pristine classicism of Bharatanatyam. Through her Thanjavur bani, Geeta uses the adavu as the basis of her revision. This basic unit of Bharatanatyam is cast and recast in prismatic formations. The content remains the classical. The traditional Mallari, Alarippu, Padam and Tillana form the basis of Geeta’s revision. The context is what’s been altered. Since a solo dance is transformed into a group experience, the inter-body connections create new contexts for movement. There is also the context of the space in which the pieces are being performed. The grandeur of the dance has been re-contextualized for the Purana Qila monument.
Geeta Chandran (Delhi) - Bharatnatyam - 20 October 2010 (Wednesday)
Geeta Chandran has been trained by eminent Bharatanatyam gurus, including Smt Swarna Saraswathy and Guru KN Dakshinamurthi Pillai. She has ably synthesized her eclectic training to present unique dance presentations in which she skilfully weaves abstract notions of joy, beauty, values, aspiration, myth and spirituality. Celebrated for her composite understanding of Bharatanatyam, Geeta is also an accomplished Carnatic vocalist. She is known for her work in television, film and theatre as also in dance education, activism and journalism. She is the founder-president of Natya Vriksha where she teaches and promotes Bharatanatyam. She is also the artistic director of the Natya Vriksha Dance Company, which has travelled all over the world with its superb dance presentations. Geeta has received many prestigious awards and fellowships, including the Padma Shri.
Presentation
In Revision, her presentation for the evening, Geeta Chandran and her Natya Vriksha Dance Company present a selection of classical numbers from the Bharatanatyam repertoire. It is suffused with the dancer’s focus on choreographic processes of intent, content and context. The intent is to celebrate the pristine classicism of Bharatanatyam. Through her Thanjavur bani, Geeta uses the adavu as the basis of her revision. This basic unit of Bharatanatyam is cast and recast in prismatic formations. The content remains the classical. The traditional Mallari, Alarippu, Padam and Tillana form the basis of Geeta’s revision. The context is what’s been altered. Since a solo dance is transformed into a group experience, the inter-body connections create new contexts for movement. There is also the context of the space in which the pieces are being performed. The grandeur of the dance has been re-contextualized for the Purana Qila monument.
Happy 60th Birthday*, little guy!
(Berkelium was synthesized, so it really IS more of a "birth" than a "discovery".)
Retrosynthesis: elnaggar.mariam.googlepages.com/home61
OuijaVision (Wee-Gee-V'is-Zhun) is a device which took an old Casino gaming progressive meter LED marquee sign, added the guts of an off-the-shelf WiFi router, and a Glomation GESBC-9G20 (ARM9 SBC running Linux) and synthesized something useful and fun!
The whole thing is packaged in a shadowbox frame (17"x13"x3") with a piece of one-way glass as its front cover.
With the display off, it hangs on a wall like a typical mirror. When the display is active, the magic happens.
The WiFi router was re-coded with the open source program "dd-wrt". This allowed me to add a repeater bridge function to it.
So, OuijaVision is a WiFi repeater bridge which accepts both WiFi and wired connections and bridges them to the current WiFi infrastructure by connecting as a node to an existing WiFi access point (AP).
Further, OuijaVision uses its network connection to drive the marquee with information grabbed from the internet. At the time of this writing, OuijaVision grabs the following information:
Current date and time
Local weather
Several RSS news feeds from Yahoo (tech, business, science, politics, world, health, US)
Twitter feeds (US population, World population, National debt, fortune cookie)
Current silver price from kitco.com
How this information is displayed can be customized by a text file, ouija.map. This controls probability of display for an item, font, color, and text effect.
For Zahrah Alghamdi, material and memory are inextricably intertwined. Many of her works involve large accumulations of material that seemingly layer the histories and cultures of the places from which they come. When Alghamdi, who grew up in the southwestern region of Saudi Arabia, visited Palm Springs, she was struck by the connection between the desert landscapes and architectures. For Desert X, she has created a sculpture that echoes and synthesizes the traditionally built forms from her country with the architectural organization she found in the Coachella Valley. The result takes the form of a monolithic wall comprised of stacked forms impregnated with cements, soils, and dyes specific to each region. It expresses a highly individualized language corresponding to feelings, emotions, and memories associated with place and time.
Zahrah Alghamdi (Al Bahah, Saudi Arabia, 1977) explores memory and history through traditional architecture in both medium and assemblage. Her laborious and meticulous process involves assembling particles of earth, clay, rocks, leather, and water. Her medium and process draw on the notion of “embodied memory” to translate and delineate themes of cultural identity, memory, and loss. Alghamdi represented Saudi Arabia in the 2019 Venice Biennale and participated in Desert X AlUla 2020.
ESPAÑOL
Para Zahrah Alghamdi, el material y la memoria están estrechamente entrelazados. Muchas de sus obras condensan grandes cúmulos de material cual si fuesen estratos superpuestos de historias y culturas de los sitios de donde provienen. Alghamdi creció en Al Bahah, en la región suroeste de Arabia Saudita, y cuando visitó Palm Springs quedó impresionada por la conexión entre los paisajes y las arquitecturas del desierto. Para Desert X, creó una escultura que sintetiza y hace eco a las formas de construcción tradicionales de su país con la organización arquitectónica que encontró en el Valle de Coachella. El resultado toma la forma de un muro monolítico compuesto por elementos apilados, impregnados de cemento, tierra y tinturas específicas de los procesos de edificación de cada región; expresando un lenguaje sumamente personal que atañe a sentimientos, emociones y recuerdos asociados a un lugar y a un tiempo.
Zahrah Alghamdi explora memoria e historia a través de la arquitectura tradicional como medio y montaje. Su trabajo y meticulosos procesos comprenden el ensamblaje de partículas de tierra, arcilla, rocas, cuero y agua. La noción de “memoria encarnada” sirve como base de producción y prácticas para traducir y delinear temas de identidad cultural, memoria y pérdida. Alghamdi representó a Arabia Saudita en la Bienal de Venecia 2019 y participó en Desert X AlUla 2020.
What Lies Behind the Walls
33.964250, -116.484250
Pierson Boulevard between Foxdale Drive and Miracle Hill Road, Desert Hot Springs
On view from sunrise to sunset
Generous support is provided by Ba’a Foundation.
Dr. Kevin Burgess' research lab in chemistry
Glove box
This graduate student is handling air sensitive catalysts in a glove box. The catalysts are being used to synthesize complex compounds, especially ones of medicinal interest. They are being developed in the labs of Dr. Kevin Burgess, Department of Chemistry, College of Science, Texas A&M University. Dr. Burgess is the Rachel Professor of Chemistry at Texas A&M University. His research interests focus on peptidomimetics for mimicking or disrupting protein-protein interactions, development of asymmetric organometallics catalysts for syntheses of valuable chirons, and fluorescent dyes for applications in biotechnology.
Texas A&M University may or may not have model releases for people photographed on campus, in classrooms, research laboratories, or other areas related to Texas A&M. Use of the images for non-university purposes is subject to approval. Please contact the Office of Communications and Public Relations, Division of Research for further information: vpr-communications@tamu.edu or (979) 845-8069.
For Zahrah Alghamdi, material and memory are inextricably intertwined. Many of her works involve large accumulations of material that seemingly layer the histories and cultures of the places from which they come. When Alghamdi, who grew up in the southwestern region of Saudi Arabia, visited Palm Springs, she was struck by the connection between the desert landscapes and architectures. For Desert X, she has created a sculpture that echoes and synthesizes the traditionally built forms from her country with the architectural organization she found in the Coachella Valley. The result takes the form of a monolithic wall comprised of stacked forms impregnated with cements, soils, and dyes specific to each region. It expresses a highly individualized language corresponding to feelings, emotions, and memories associated with place and time.
Zahrah Alghamdi (Al Bahah, Saudi Arabia, 1977) explores memory and history through traditional architecture in both medium and assemblage. Her laborious and meticulous process involves assembling particles of earth, clay, rocks, leather, and water. Her medium and process draw on the notion of “embodied memory” to translate and delineate themes of cultural identity, memory, and loss. Alghamdi represented Saudi Arabia in the 2019 Venice Biennale and participated in Desert X AlUla 2020.
ESPAÑOL
Para Zahrah Alghamdi, el material y la memoria están estrechamente entrelazados. Muchas de sus obras condensan grandes cúmulos de material cual si fuesen estratos superpuestos de historias y culturas de los sitios de donde provienen. Alghamdi creció en Al Bahah, en la región suroeste de Arabia Saudita, y cuando visitó Palm Springs quedó impresionada por la conexión entre los paisajes y las arquitecturas del desierto. Para Desert X, creó una escultura que sintetiza y hace eco a las formas de construcción tradicionales de su país con la organización arquitectónica que encontró en el Valle de Coachella. El resultado toma la forma de un muro monolítico compuesto por elementos apilados, impregnados de cemento, tierra y tinturas específicas de los procesos de edificación de cada región; expresando un lenguaje sumamente personal que atañe a sentimientos, emociones y recuerdos asociados a un lugar y a un tiempo.
Zahrah Alghamdi explora memoria e historia a través de la arquitectura tradicional como medio y montaje. Su trabajo y meticulosos procesos comprenden el ensamblaje de partículas de tierra, arcilla, rocas, cuero y agua. La noción de “memoria encarnada” sirve como base de producción y prácticas para traducir y delinear temas de identidad cultural, memoria y pérdida. Alghamdi representó a Arabia Saudita en la Bienal de Venecia 2019 y participó en Desert X AlUla 2020.
What Lies Behind the Walls
33.964250, -116.484250
Pierson Boulevard between Foxdale Drive and Miracle Hill Road, Desert Hot Springs
On view from sunrise to sunset
Generous support is provided by Ba’a Foundation.
“As information on Cambodian birds has grown exponentially since the 1990s, the country has needed a national treatment synthesizing latest knowledge on its fascinating avifauna for some time.
The Birds of Cambodia, An Annotated Checklist addresses this need. The book provides an exhaustive account of all 599 bird species confirmed for Cambodia to date, with information on seasonal status, abundance, habitats, altitude range and distribution, in addition to notes on breeding and conservation status. Over 80 species are illustrated by colour photographs taken in the wild in Cambodia.
The introduction presents the country’s natural geography, major habitats, protected areas, ornithological history and survey coverage, as well as threats to birds and conservation successes and challenges. Species accounts summarise current knowledge for each species, and are systematically listed with their English, scientific, French and Khmer names, including transliteration. Detailed reviews of records are also provided for rarities and all species of conservation concern, together with a proposed national conservation category.
This landmark in Cambodian ornithology is the result of 12 years of observations and ornithological surveys by the author who lived and travelled extensively in the country from 1994 to 2006, followed by six years of detailed review on a secluded French island. It will undoubtedly become the standard reference for conservationists and ornithologists in Cambodia, as well as all birdwatchers visiting the Kingdom.”
516 pages + Cover
Palatino Linotype
Helvetica Neue LT Std
Khmer OS Bokor
18 cm X 25 cm [ 7.0866142 inches X 9.8425197 inches ]
FORMULA 100% ANABOLICA E A HIPERTROFIA MAXIMA: Pesquisas recentes descobriram mecanismos biomoleculares capazes de provocar hipertrofia muscular por meio da ativação enzimática de uma nova proteína - M-TOR - que evita a atrofia, impede o catabolismo num mecanismo chamado eficácia traducional protéica. E o que é mais importante: sem o uso de esteróides anabólicos.
ALTERNATIVA LEGAL AO ESTERÓIDE ANABÓLICO: O Instituto Nutré de Pesquisa buscou formular um produto que, baseado na sinalização molecular do próprio organismo do atleta, oferece um estimulo a síntese protéica tão potente quanto o esteróide anabólico porém, sem seus efeitos colaterais.
Images generated by deep generator network (DGN, Nguyen, et al) as specified here: www.evolvingai.org/synthesizing
act261. contagious orgasm. escape. cd. ant-zen
this aural voyage atmospherically varies from hypnotic echo-based beat pulses and moony synthesized melodies up to disturbing industrial soundscapes.
bandcamp:
ant-zen.bandcamp.com/album/escape
discogs:
Lake Travis High School in Austin, Texas, has offered the PLTW program for five years. The PLTW Model School set goals early on: students will synthesize information through a logical and systematic process that allows for the design of solutions; imagine potential solutions to problems utilizing accumulated knowledge; understand the ethical and social responsibilities of innovators, designers and technologists; communicate effectively verbally and in writing; and work effectively both independently and in a team environment.
The tea supplier of Hotel Gavarni is first of all the story of one man, François Cambell, tea lover since childhood when he use to spend his pocket money in unique beverages. After a formative experience in parapharmaceutical laboratories Francois Cambell in 1997 decided to synthesize his knowledge and put it in use for the environment. He creates tLa Route des Comptoirs and begins to import organic tea in France. Forerunner, he realized tea is the most drunk beverage in the world and it deserves to be of high quality.
Ahead of his time, far from playing the chic tea time game that offer some great houses now-a-days, at the first Tea Fair Frade in 2000, he was the only one to think to sell tea to consumers, to explain him to “the difference” and not just make a simple representation of state.
Consumers are not misled, Francois Cambell offers a product at a crossroads, between concept of flavor diet and respectful of our environment.
Always looking for new mixes, giving free rein to his inspiration, he draws on plantations certified organic by Ecocert, where on-site certification survey, conducts inspections and monitors the production before giving the green light. Seamless traceability that the success of the company.
La Route des Comptoirs
41, rue Dautancourt
75017 Paris
France
Check out the green Hôtel Gavarni!
Find all the good tips and addresses by Hôtel Gavarni on greenhotelparis.com
Hôtel Gavarni, member of Hoosta Luxury Hotels Collection.
For Zahrah Alghamdi, material and memory are inextricably intertwined. Many of her works involve large accumulations of material that seemingly layer the histories and cultures of the places from which they come. When Alghamdi, who grew up in the southwestern region of Saudi Arabia, visited Palm Springs, she was struck by the connection between the desert landscapes and architectures. For Desert X, she has created a sculpture that echoes and synthesizes the traditionally built forms from her country with the architectural organization she found in the Coachella Valley. The result takes the form of a monolithic wall comprised of stacked forms impregnated with cements, soils, and dyes specific to each region. It expresses a highly individualized language corresponding to feelings, emotions, and memories associated with place and time.
Zahrah Alghamdi (Al Bahah, Saudi Arabia, 1977) explores memory and history through traditional architecture in both medium and assemblage. Her laborious and meticulous process involves assembling particles of earth, clay, rocks, leather, and water. Her medium and process draw on the notion of “embodied memory” to translate and delineate themes of cultural identity, memory, and loss. Alghamdi represented Saudi Arabia in the 2019 Venice Biennale and participated in Desert X AlUla 2020.
ESPAÑOL
Para Zahrah Alghamdi, el material y la memoria están estrechamente entrelazados. Muchas de sus obras condensan grandes cúmulos de material cual si fuesen estratos superpuestos de historias y culturas de los sitios de donde provienen. Alghamdi creció en Al Bahah, en la región suroeste de Arabia Saudita, y cuando visitó Palm Springs quedó impresionada por la conexión entre los paisajes y las arquitecturas del desierto. Para Desert X, creó una escultura que sintetiza y hace eco a las formas de construcción tradicionales de su país con la organización arquitectónica que encontró en el Valle de Coachella. El resultado toma la forma de un muro monolítico compuesto por elementos apilados, impregnados de cemento, tierra y tinturas específicas de los procesos de edificación de cada región; expresando un lenguaje sumamente personal que atañe a sentimientos, emociones y recuerdos asociados a un lugar y a un tiempo.
Zahrah Alghamdi explora memoria e historia a través de la arquitectura tradicional como medio y montaje. Su trabajo y meticulosos procesos comprenden el ensamblaje de partículas de tierra, arcilla, rocas, cuero y agua. La noción de “memoria encarnada” sirve como base de producción y prácticas para traducir y delinear temas de identidad cultural, memoria y pérdida. Alghamdi representó a Arabia Saudita en la Bienal de Venecia 2019 y participó en Desert X AlUla 2020.
What Lies Behind the Walls
33.964250, -116.484250
Pierson Boulevard between Foxdale Drive and Miracle Hill Road, Desert Hot Springs
On view from sunrise to sunset
Generous support is provided by Ba’a Foundation.
赤く染まった夕焼け空と田んぼをLightroomにてパノラマ合成しました。
撮影地は富山県南砺市某所
The red dyed was sunset sky and rice fields I've panorama synthesized in Lightroom.
Location Toyama Prefecture Nanto City somewhere
Cedar Waxwing - Perched on a piece of driftwood over my back yard birdbath. One of a flock of about 20. Finally a shot of a bird with those waxy red tips on its secondary feathers. The tips are synthesized from carotenoids and develop mostly in males during their third year. Their function is unknown, although some suggest that they function in mate selection.
On 9 and 10 November 2011, the ILRI Board of Trustees hosted a 2-day 'liveSTOCK Exchange' to discuss and reflect on livestock research for development. The event synthesized sector and ILRI learning and helped frame future livestock research for development directions. The liveSTOCK Exchange also celebrated the leadership and contributions of Dr. Carlos Seré as ILRI Director General (photo credit: ILRI/Zerihun Sewunet).
Overturned cross-bedding in the Pennsylvanian of Ohio, USA.
Cross-bedding is a common sedimentary structure - it refers to tilted layers between horizontal layers. Crossbeds form in a one-direction current by wind or water. They are common in many sandstones.
Overturned cross-bedding is a rare sedimentary structure - the upper parts of a crossbed set are tilted upside down. It forms by one-directional shear by the same process that produced the crossbeds in the first place (e.g., 1-directional stream current or 1-direction water current). Overturned crossbeds may often be formed in nature, but subsequent, partial erosion of crossbed sets usually removes all traces of their presence.
I've seen overturned cross-bedding in the field in Ohio, Wisconsin, and Utah. The best examples I've ever seen are in the Lower Pennsylvanian Sharon Formation of northeastern Ohio. Seen above is an outcrop at Virginia Kendall Ledges in Cuyahoga Valley National Park. They can also be seen at Cuyahoga Gorge in the town of Cuyahoga Falls, Ohio.
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(Synthesized from info. provided by several geologists during the 2003 Annual Field Conference of the Great Lakes Section, Society of Economic Paleontologists and Mineralogists):
The Lower Pennsylvanian Sharon Formation is a 10-15 meter thick, ledge-forming, erosion-resistant unit. The Sharon is paleovalley-filling in places, so it is thicker than 10-15 meters in some spots. The jointing patterns of the Sharon Formation allow for 3-D examination around large blocks of outcrop - can see the 3-D architecture of sedimentary structures. The Pottsville Group lies over a major unconformity, which was formed by eustatic sealevel fall & erosion. The Sharon Formation is the basal unit of the Pottsville sediments over this unconformity. In terms of the tectonic setting, this is in the Appalachian Foreland Basin. What influenced sedimentation and sediment supply of the Sharon Formation during the Early Pennsylvanian? Probably a migrating forebulge and Early Pennsylvanian climatic changes. The Sharon is correlatable with the Olean Conglomerate in Pennsylvania. Both the Sharon and the Olean are time-equivalent to the Tumbling Hill Member & the Huylkill Member of the lower Pottsville Formation of central Pennsylvania (both of those members are below the major unconformity in Pennsylvania, unlike in northeastern Ohio). The Sharon Conglomerate/Formation & the Olean Conglomerate were deposited under strong north-to-south paleoflow conditions.
About twelve lithofacies can be seen in the Sharon Formation in the Akron, Ohio area. The Sharon Formation is dominantly conglomerate and sandstone, with lots of sedimentary structures. It is light on fine-grained materials. The Sharon has horizontally bedded gravels, cross-bedded gravels (including trough and tabular cross bedding), deformed/overturned cross-bed sets, basal scours up to 2 meters deep (but typically 0.5 to 1 meter deep; scours are backfilled by dune/bar back migration), whole channel fills, chute fills, and gravel bar platform deposits (usually 1-2 meters thick in the Sharon; these include bar head deposits, bar core deposits, bar tail deposits, and bar margin deposits - can usually use the presence of imbricated clasts to ID bar-head & bar-core portions of gravel bar platforms, but in the Sharon, clasts are mostly spheroidal, so it is difficult to tell specific portions of gravel platforms here). In the gravel-rich Sharon deposits, get calculated average bankfull depths of 2.1 meters, 19.9 meter average paleochannel widths, and 34.3 meter maximum paleochannel widths. Get different numbers for the sandy Sharon deposits. The Sharon is typically more conglomeratic at the base & more sandy near the top. The Sharon’s interpreted depositional environment is gravel & sand bedload streams. Paleovalleys underneath the Sharon Formation were formed when the subsidence rate was greater than the sediment supply. Paleovalley backfilling (i.e., Sharon deposits) occurred when the subsidence rate was less than the sediment supply. The change in fluvial style seen in Sharon deposits is probably due to filling & overtopping of paleovalleys.
Beds of the Sharon Formation are usually cliff-forming. The Sharon in the Akron area consists of quartz-pebble conglomerate & quartzose sandstone & pebbly quartzose sandstone & sandy quartz-pebble conglomerate & some lenses or thin intervals of granulestone. The basal Sharon is conglomeratic - the “lower conglomerate”. An “upper conglomerate” can be seen in places - it is usually quite thin (1-2 pebbles thick in places), and in some places, it splits into two horizons; in some places it’s not there at all. Pebbles are almost entirely white vein quartz, with an uncertain source from the north. Detrital muscovite in the Sharon has been dated to about 370 and 406 Ma (Devonian), so the source area includes Acadian Orogeny materials. The Sharon has relatively common cross-bedding, with a few overturned cross-beds visible in areas. Abundant iron oxide staining is present in the Sharon sandstones, with a variety of morphologies - this can weather out as resistant ridges or as 3-D surfaces. Many vugs have thick goethite linings. Many goethite-stained quartz pebbles are present. Seeps & springs occur sporadically along the sandstones of the lower Sharon Formation in places. These spring waters have widely variable pH and TDS (total dissolved solids). Some dry springs are present - conduits without water emerging. A few places in basal Sharon strata have obvious rip-up shale clasts, derived from uppermost Meadville Shale beds (below the Mississippian-Pennsylvanian unconformity). One outcrop is known with many Meadville Shale clasts mixed in with Sharon quartz pebbles - this appears to represent paleobank failure of Meadville material during near-earliest Sharon deposition.
Virginia Kendall Ledges is an isolated platform of Sharon Formation, surrounded by a lower land surface of Lower Mississippian Cuyahoga Formation shales & siltstones & sandstones. The lower Sharon Formation at this site is quite pebbly - many pebble-filled channelform features are present. Upon 3-D examination of their architecture, these are not channels or chutes, but are interpreted by Professor Neil Wells as bar confluence scours with subsequent pebble fills. The edges of the Virginia Kendall Ledges platform have large Sharon blocks separating from the rest of the platform. Abundant overturned recumbent cross beds are present - some of the world's best developed and best exposed examples. The mechanism by which crossbeds get overturned seems straightforward (unidirectional shear by fluvial currents), but the cause is not clearly understood - some cohesive agent may be required? Someone suggested biomats. Some of the scour pits in this area seem to have fairly steep margins - perhaps whatever cohesive agent was responsible for simple deformation of crossbeds was also responsible for overly steep, stable margins of depressions/chutes/channels/scours.
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Stratigraphy: Sharon Formation (also known as Sharon Sandstone or Sharon Conglomerate or Sharon Member), lower Pottsville Group, upper Lower Pennsylvanian
Locality: Virginia Kendall Ledges, Cuyahoga Valley National Park, north of Akron, northern Summit County, northeastern Ohio, USA (~~vicinity of 41° 13' 44.76" North latitude, 81° 30' 37.76" West longitude)
In order to invent new materials to use in better batteries, solar cells and other technological advances, scientists must delve deeply into the nanoscale—the nearly atomic scale where structures determine how materials react with each other. At the nanoscale, anything can happen; materials can change colors and form into astonishing structures. These are some of the results from studies at the nanoscale.
ABOVE: Self-assembled nanoplates of (Ni4/9Co1/9Mn4/9)(OH)2 precursor for lithium-ion battery cathode materials synthesized by a coprecipitation method.
By Sun-Ho Kang, Vilas G. Pol
The BeCa story.
On 9 and 10 November 2011, the ILRI Board of Trustees hosted a 2-day 'liveSTOCK Exchange' to discuss and reflect on livestock research for development. The event synthesized sector and ILRI learning and helped frame future livestock research for development directions. The liveSTOCK Exchange also celebrated the leadership and contributions of Dr. Carlos Seré as ILRI Director General. (photo credit: ILRI/Ewen Le Borgne).