Yellowstone Science a Quarterly Publication Devoted to the Natural and Cultural Resources
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Yellowstone Science A quarterly publication devoted to the natural and cultural resources 110˚35'W 110˚30'W 110˚25'W 110˚20'W 110˚15'W Yellowstone Pelican River Valley Indian Pond Mary Bay Storm Point Turbid Lake Bridge Mary Bay Bay crater outlet inflated spire graben plain Elliott's Steamboat field crater Point Sedge Gull Pelican Bay Stevenson Roost Point Island Lake Butte the 44˚30'N 44˚30'N fissures northern Sand basin Point Rock Point Elk Point Pumice Point Dot Island west West Thumb Breeze central Park basin Point basin east Point Evil Frank central Duck Island Lake Twin Wolf basin Point 44˚25'N 44˚25'N crater Delusion Lake Eagle Bay Biscuit Plover Basin Point Flat Mountain Arm The Promontory Southeast South Arm Arm Alder Lake 44˚20'N 44˚20'N Yellowstone River 110˚35'W 110˚30'W 110˚25'W 110˚20'W 110˚15'W The YS Interview: Lisa Morgan Mapping Yellowstone Lake Predator and Prey at Fishing Bridge Volume 11 Number 2 “In War or in Peace” Now, as these words are written, with prospects of a third world war looming up, with the need all the greater for a haven from the tensions of modern life, for an environment of quiet and peace and serenity, a book like Tilden's leads people's thoughts into channels upon which proper mental balance and perhaps even national sanity may depend. So much the more important, therefore, to cherish these crown jewels among the lands of the nation, to keep them unsullied and intact, to conserve them, not for com- mercial use of their resources but because of their value in ministering to the human mind and spirit. In war or in peace the national parks have their proper and proportionate place in the life of America. These lands are less than one percent of our area. Surely we are not so poor that we need to destroy them, or so rich that we can afford to lose them. As Director of the National Park Service from 1940–1951, Newton B. Drury spent a great deal of his tenure fending off a constant flow of demands that the national parks be plundered for the resources they could contribute to wartime and post-war necessity. In that last year of his directorship, in the midst of the Korean War and a growing with the Cold War, he penned these words as an introduction to Freeman Tilden’s The National Parks: What They Mean to You and Me. Yellowstone Science A quarterly publication devoted to the natural and cultural resources Volume 11 Number 2 Spring 2003 Contents Science with Eyes Wide Open 2 YS talks with USGS geologist Lisa Morgan about science, discovery, and the joys of life in the caldera The Floor of Yellowstone Lake is Anything but Quiet! 14 New discoveries from high-resolution sonar imaging, seismic reflection profiling, and submersible studies show there’s a lot more going on down there than we may have thought. PAUL SCHULLERY PAUL by Lisa A. Morgan, Pat Shanks, Dave Lovalvo, Kenneth Pierce, Gregory Lee, Michael Webring, William Stephenson, Samuel Johnson, Carol Finn, Boris Schulze, and Stephen Harlan Editor 7th Biennial Scientific Conference Announcement 31 Roger J. Anderson [email protected] Yellowstone Nature Notes: Assistant Editor and Design Predator and Prey at Fishing Bridge 32 Alice K. Wondrak In prose and on film, Paul Schullery captures a little-seen phenomenon: Assistant Editors the aesthetics of survival in the world of a trout. Tami Blackford by Paul Schullery Virginia Warner Technical Assistance News and Notes 40 and Printing Gray wolf downlisted • Bison operations commence outside North Entrance • Artcraft, Inc. Spring bear emergence reminder • Winter use FSEIS released • YCR 10th Bozeman, Montana anniversary Special Color Issue! Around the Park 43 Springtime in Yellowstone. Cover: New high-resolution bathymetric Yellowstone Science is published quarterly. Submissions are welcome from all investigators con- relief map of Yellowstone Lake, acquired by ducting formal research in the Yellowstone area. To submit proposals for articles, to subscribe to multibeam sonar imaging and seismic map- Yellowstone Science, or to send a letter to the editor, please write to the following address: Editor, Yellowstone Science, P.O. Box 168, Yellowstone National Park, WY 82190. ping, surrounded by colored geologic map of You may also email: [email protected]. the area around Yellowstone Lake. Support for Yellowstone Science is provided by the Yellowstone Association, a Courtesy USGS. non-profit educational organization dedicated to serving the park and its visitors. For more information about the association, including membership, or to donate to Left: 1883 woodblock engraving of Yellow- the production of Yellowstone Science, write to: Yellowstone Association, P.O. Box stone Lake, probably produced for publica- 117, Yellowstone National Park, WY 82190. tion purposes and handcolored at a later The opinions expressed in Yellowstone Science are the authors’ and may not reflect time. either National Park Service policy or the views of the Yellowstone Center for Resources. Above: A trout rises to the surface of the Yel- Copyright © 2003, Yellowstone Association for Natural Science, History & Education. lowstone River. Yellowstone Science is printed on recycled paper with a linseed oil-based ink. Science with ‘Eyes Wide Open’ An interview with geologist Lisa Morgan ALICE WONDRAK Dave Lovalvo, Lisa Morgan, and Pat Shanks launch a remotely-operated vehicle (ROV) into Yellowstone Lake. The ROV aids in ground-truthing recent bathymetric and aeromagnetic mapping of the lake floor conducted by the USGS. A research geologist with the U.S. Geological Survey, Dr. Lisa Morgan has devoted 23 years to studying the geology and geophysics of volcanic terrains. Since 1999, she has been working in Yellowstone, mapping and interpreting the floor of Yellowstone Lake and its associated potential geologic hazards—an undertaking that was completed last sum- mer. We felt that an achievement of this magnitude warranted extensive coverage in Yellowstone Science, and are excited to publish its results. In 2002, YS editor Roger Anderson had the opportunity to discuss this project and other issues with Lisa at her Boulder, Colorado, home. We are pleased to include this interview, which provides interesting insights into the mapping process as well as into her personal approach to the science of geology. YS (Yellowstone Science): Lisa, when ory, which I always thought was pretty to draw something is going to be very dif- we first met, you described your back- interesting. My hope was that the course ferent than if you just took a photograph of ground as a little bit different than that of would enable me to have a better under- it, and you’re going to consider the rela- most geologists, in that you started out as standing of the color spectrum and how tionships somewhat differently when a fine arts major. Could you tell us a little light works. So I took that class and had to you’re drawing something than if you’re bit more about that, and how it affects how take prerequisites in physical and histori- just going to document it with a photo- you go about looking at your work today? cal geology and before I knew it, I was graph. So I think fine arts brings this abil- kind of hooked into geology. And I love ity to see or look. LM (Lisa Morgan): I did start out as a geology. One of the things I think fine arts I guess I would describe myself as a fine arts major. Along the way, I took a brings to geology is the ability or interest field geologist who studies the geology mineralogy and optical crystallography to look in detail at things, and to see things and geophysical characteristics of volcanic course in my pursuit of fine arts because I that you might not normally look for. Like terrains, and I think having a fine arts per- knew we’d be studying color and light the- when you’re drawing, how you’re going spective gives me another set of tools with 2 Yellowstone Science which to understand the Earth. My tant that we get out our products that we A great example from our 2001 field- approach is to do science “with eyes wide promised we’ll get out, but I think it’s also work is, we discovered charcoal and tree open.” And that’s where I see the connec- important, as natural scientists, to make molds in the Lava Creek Tuff. We have tion with art, because when you take on a sure we’re not missing something. So actual pieces of charcoal present in some canvas, you start with a specific drawing or while I have models in mind, I get really of the tree molds, which was surprising painting in mind but as you work on it, the frustrated when I’m in the field and some- because these pyroclastic flows are typi- painting begins to shape itself. You don’t body tells me, “well, this model tells me it cally erupted from very large calderas at start a painting saying, “I know exactly can’t be this.” I don’t care what your model pretty incredible speeds, and emplaced at what colors I’m going to use. I know tells you. Just look at the relationship. For- very high temperatures, probably on the exactly what I’m going to draw or paint get any model, and just look at that, study order of 800-850ºC. here.” You don’t know exactly what the what you’re seeing in that relationship, and final results will be. And I think you then see how that compares with your YS: And it’s unusual, because in that shouldn’t, either, with science.