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Seamlessly Looping Background Animation Of Moving Walls And Wicked Tunnels Designed To Draw In Your Audience. Checkout GlobalArchive.com, contact ChrisDortch@gmail.com, and connect to www.linkedin.com/in/chrisdortch
www.cgtrader.com/3d-models/electronics/other/sangean-ats-...
This is a fast model for the environment.
Easy, low polygonal.
Original dimensition/world size.
1 texture map 2048 layered PSD
Antenna, glass, back plate - individual elements.
www.cgtrader.com/3d-models/electronics/other/sangean-ats-...
This is a fast model for the environment.
Easy, low polygonal.
Original dimensition/world size.
1 texture map 2048 layered PSD
Antenna, glass, back plate - individual elements.
This top-down view of a catalyst material may look like a tiny ballerina, but it may be the key to taking longer spins in electric vehicles. Researchers at PNNL are synthesizing nickel cobalt oxide with uniform morphology that is critical to catalyst development. With support from DOE’s Office of Energy Efficiency and Renewable Energy, researchers are studying this material that could serve as an efficient catalyst for next-generation, high-energy-density lithium-air batteries. These tiny, uniform strands—each much thinner than a single strand of spider web silk—may play a role in reducing charge overpotential during battery cycling that further enhances battery-cycling stability.
Research Team: Bin Liu, Wu Xu and Ji-Guang Zhang (PNNL).
Instrument: Scanning Electron Microscope in EMSL, the Environmental Molecular Sciences Laboratory, a DOE Office of Science user facility located at PNNL.
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An image created through averaging a stack of between 100 and 200 shots. I used the Ultra Intervalometer script, thanks to CHDK, on my Canon a590is. I then stacked these images in a nice little program called Picolay: translate.google.com/translate?hl=en&sl=de&u=http... I edited colours, contrast, brightness etc. in Photoshop CS3.
I first heard of this process via this guy: www.flickr.com/photos/26722540@N05/sets/72157621657926947/
Almost 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)
Map of the world by Ottoman admiral Piri Reis, drawn in 1513. Only half of the original map survives and is held at the Topkapi Museum in Istanbul. The map synthesizes information from twenty maps, including one drawn by Christopher Columbus of the New World.
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.
ABERDEEN PROVING GROUND, Md. (May 3, 2016) -- Army scientists are on the trail of new high-performing energetic materials.
Scientists at the U.S. Army Research Laboratory recently synthesized a new material called bis-isoxazole tetranitrate, or BITN, with potential applications in propulsion and lethality.
"BITN has a strong potential for improving insensitive munitions characteristics for gun and rocket propellants" said Dr. Jesse J. Sabatini, team leader of the Energetics Synthesis Team within ARL's Weapons and Materials Research Directorate.
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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.
ASF 2015, "Herding Cats: Synthesizing the Intelligence Community"
Rick Ambrose
James Clapper
Andrea Mitchell
Ross Connolly of Butterflies, synthesizing great American forces: jukeboxes, the Charlotte Hornets and beer.
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.
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Principle of CA is to synthesize information contained in a contingency table (C columns x L rows), by focusing on relative values rather than on raw values, i.e. correspondences between modalities of 2 variables.
CA allows to detect axes by which points (= modalities of qualitative variables) spread the most from the center of inertia. These "synthetic" axes may result of influence of one or several variables or observations.
Thus, by projection of points (observations or variables) on plans defined by these new axes, we have a representative "photograph" of points.
By analogy, imagine someone is trying you to recognize an animal drawn on a paper sheet (that is a camel) but you see only its face shape. You can not conclude if it is a camel or a dromedary, just because angle of analysis is not the most informative. You need a profile image of the animal to conclude with certitude that it is a camel. On the same way, CA calculates new axes (and then plans) able to advise you at the best about repartition of points.
To download a free demo of the StatEL software, please visit www.adscience.eu
True 3D synthesized moving image....This is a Bird. It flaps it's wings and makes sounds.
Hologlyphics are animated spatial visuals seen in full 3D without glasses. Although not the same technical process as holography, the visual result is the same, a True 3D image with full horizontal parallax. Horizontal parallax allows you not only to see the animation in 3D, but also to see all views of the animation scene within a 90 degree viewing range. As you walk left to right, the perspective of the image changes as in the real world.
The animations are also synched to music and sound.
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.
Fluorescence of a compound I synthesized. For my multiply blog. Light used is a standard blue LED. Orange colour is due to fluorescence.
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.
Bob Farese Jr. has always lived between identities. Trained as both a physician and a scientist, he’s someone who listens as intently as he investigates. You can sense it when he speaks—quiet, deliberate, with a kind of inward momentum that doesn’t announce itself but builds as he connects ideas.
His laboratory work focuses on lipid metabolism and its role in disease. That phrase might not catch the average ear, but it describes a world of hidden choreography inside our cells. The way fats are synthesized, stored, mobilized, and burned can determine whether we thrive or falter. Bob’s research has helped illuminate this hidden world, especially the biology of energy storage in lipid droplets—organelles once overlooked but now recognized as central to metabolic health and even neurodegeneration. His discoveries have changed how scientists understand fat-related disorders, from liver disease to dementia.
But the story doesn’t begin at the lab bench. He grew up the child of a prominent endocrinologist, moving frequently—but settling in Florida. Science was in the air, but so was music, drawing and painting. In school, he studied chemistry, then medicine. Even then, clinical work wasn’t enough. He wanted to understand the root causes of illness, not just treat symptoms. That curiosity led him to basic research, and eventually, to a life where he’s as comfortable with a pipette as he is with a Leica.
Bob’s scientific path crystallized when he joined forces with his scientific partner, Tobias Walther. The two now co-lead a lab—first at Harvard, now at Sloan Kettering—and are known as a rare scientific duo, leading a lab guided by rigor and collaboration. Their partnership has shaped a lab culture that values openness, creativity, and humor—qualities that continue to attract a steady stream of talented students and postdocs.
Alongside the science, Bob has always made room for the arts. Photography, in particular, is more than a hobby. His images often capture quiet, observational moments—a play of light through a window, a worn hand resting on a table, a curve of architecture that might otherwise go unnoticed. There’s a kind of stillness in his photographs that mirrors the clarity he brings to his research.
He speaks often about balance. Not in a performative way, but with genuine thoughtfulness—the balance between work and life, between ambition and humility, between the urgent pace of science and the slower rhythm of understanding. His home reflects this equilibrium. It is gracious and warm, filled with books and framed prints, personal but not curated. It’s easy to imagine it as a place where conversations run late and the espresso machine gets more use than the television.
On May 4, 2025, he was photographed in that very home. The light was low, almost theatrical, with sharp contrasts that carved out the details of his face. He sat calmly, his hands folded, eyes alert. It was the kind of portrait that reveals more the longer you look.
Bob has a rare gift for moving between worlds—the clinical and the molecular, the technical and the human, the scientific and the artistic. He is not driven by fame or academic gamesmanship. What he seems to care about most is clarity. In thought, in method, in expression. Whether he’s mentoring a student, studying lipid droplets under a microscope, or stopping to photograph the tremendous variation of patterns in water, that search for essence is always present.
At this point in his career, he could coast if he wanted to. But that’s not his nature. There are still puzzles to solve, still connections to make. And in the quiet spaces between experiments and images, he continues to listen for them.
Photo showing Pitter Pata Pata at POSTCITY. It is a system that synthesizes external physical activity and internal biosignals into localized haptics and kinetic wearables.
credit: Florian Voggeneder
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The picture doesn't capture just how loud the magpies were. Sounded like a herd of chickens pecking away at a synthesized rusty gate, turned up to volume 11.
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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.
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.
Honeycomb weathering on cross-bedded sandstones in the Pennsylvanian of Ohio, USA.
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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.
The outcrop shown above is at Virginia Kendall Ledges in Cuyahoga Valley National Park. 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)
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.