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Martian Crater Morphology
ANALYSIS OF THE DEPTH-DIAMETER RELATIONSHIP OF MARTIAN CRATERS A Capstone Experience Thesis Presented by Jared Howenstine Completion Date: May 2006 Approved By: Professor M. Darby Dyar, Astronomy Professor Christopher Condit, Geology Professor Judith Young, Astronomy Abstract Title: Analysis of the Depth-Diameter Relationship of Martian Craters Author: Jared Howenstine, Astronomy Approved By: Judith Young, Astronomy Approved By: M. Darby Dyar, Astronomy Approved By: Christopher Condit, Geology CE Type: Departmental Honors Project Using a gridded version of maritan topography with the computer program Gridview, this project studied the depth-diameter relationship of martian impact craters. The work encompasses 361 profiles of impacts with diameters larger than 15 kilometers and is a continuation of work that was started at the Lunar and Planetary Institute in Houston, Texas under the guidance of Dr. Walter S. Keifer. Using the most ‘pristine,’ or deepest craters in the data a depth-diameter relationship was determined: d = 0.610D 0.327 , where d is the depth of the crater and D is the diameter of the crater, both in kilometers. This relationship can then be used to estimate the theoretical depth of any impact radius, and therefore can be used to estimate the pristine shape of the crater. With a depth-diameter ratio for a particular crater, the measured depth can then be compared to this theoretical value and an estimate of the amount of material within the crater, or fill, can then be calculated. The data includes 140 named impact craters, 3 basins, and 218 other impacts. The named data encompasses all named impact structures of greater than 100 kilometers in diameter. -
2021 Transpacific Yacht Race Event Program
TRANSPACTHE FIFTY-FIRST RACE FROM LOS ANGELES 2021 TO HONOLULU 2 0 21 JULY 13-30, 2021 Comanche: © Sharon Green / Ultimate Sailing COMANCHE Taxi Dancer: © Ronnie Simpson / Ultimate Sailing • Hamachi: © Team Hamachi HAMACHI 2019 FIRST TO FINISH Official race guide - $5.00 2019 OVERALL CORRECTED TIME WINNER P: 808.845.6465 [email protected] F: 808.841.6610 OFFICIAL HANDBOOK OF THE 51ST TRANSPACIFIC YACHT RACE The Transpac 2021 Official Race Handbook is published for the Honolulu Committee of the Transpacific Yacht Club by Roth Communications, 2040 Alewa Drive, Honolulu, HI 96817 USA (808) 595-4124 [email protected] Publisher .............................................Michael J. Roth Roth Communications Editor .............................................. Ray Pendleton, Kim Ickler Contributing Writers .................... Dobbs Davis, Stan Honey, Ray Pendleton Contributing Photographers ...... Sharon Green/ultimatesailingcom, Ronnie Simpson/ultimatesailing.com, Todd Rasmussen, Betsy Crowfoot Senescu/ultimatesailing.com, Walter Cooper/ ultimatesailing.com, Lauren Easley - Leialoha Creative, Joyce Riley, Geri Conser, Emma Deardorff, Rachel Rosales, Phil Uhl, David Livingston, Pam Davis, Brian Farr Designer ........................................ Leslie Johnson Design On the Cover: CONTENTS Taxi Dancer R/P 70 Yabsley/Compton 2019 1st Div. 2 Sleds ET: 8:06:43:22 CT: 08:23:09:26 Schedule of Events . 3 Photo: Ronnie Simpson / ultimatesailing.com Welcome from the Governor of Hawaii . 8 Inset left: Welcome from the Mayor of Honolulu . 9 Comanche Verdier/VPLP 100 Jim Cooney & Samantha Grant Welcome from the Mayor of Long Beach . 9 2019 Barndoor Winner - First to Finish Overall: ET: 5:11:14:05 Welcome from the Transpacific Yacht Club Commodore . 10 Photo: Sharon Green / ultimatesailingcom Welcome from the Honolulu Committee Chair . 10 Inset right: Welcome from the Sponsoring Yacht Clubs . -
Collection Highlights Since Its Founding in 1924, the Kalamazoo Institute of Arts Has Built a Collection of Nearly 5,000 Artworks
Collection Highlights Since its founding in 1924, the Kalamazoo Institute of Arts has built a collection of nearly 5,000 artworks. Enjoy an in-depth exploration of a selection of those artworks acquired by gift, bequest, or purchase support by special donors, as written by staff curators and guest editors over the years. Table of Contents KENOJUAK ASHEVAK Kenojuak Ashevak (ken-OH-jew-ack ASH-uh-vac), one of the most well-known Inuit artists, was a pioneering force in modern Inuit art. Ashevak grew up in a semi-nomadic hunting family and made art in various forms in her youth. However, in the 1950s, she began creating prints. In 1964, Ashevak was the subject of the Oscar-nominated documentary, Eskimo* Artist: Kenojuak, which brought her and her artwork to Canada’s—and the world’s—attention. Ashevak was also one of the most successful members of the Kinngait Co-operative, also known as the West Baffin Eskimo Co-operative, established in 1959 by James Houston, a Canadian artist and arts administrator, and Kananginak Pootoogook (ka-nang-uh-nak poo-to-guk), an Inuit artist. The purpose of the co-operative is the same as when it was founded—to raise awareness of Inuit art and ensure indigenous artists are compensated appropriately for their work in the Canadian (and global) art market. Ashevak’s signature style typically featured a single animal on a white background. Inspired by the local flora and fauna of the Arctic, Ashevak used bold colors to create dynamic, abstract, and stylized images that are devoid of a setting or fine details. -
Picturing France
Picturing France Classroom Guide VISUAL ARTS PHOTOGRAPHY ORIENTATION ART APPRECIATION STUDIO Traveling around France SOCIAL STUDIES Seeing Time and Pl ace Introduction to Color CULTURE / HISTORY PARIS GEOGRAPHY PaintingStyles GOVERNMENT / CIVICS Paris by Night Private Inve stigation LITERATURELANGUAGE / CRITICISM ARTS Casual and Formal Composition Modernizing Paris SPEAKING / WRITING Department Stores FRENCH LANGUAGE Haute Couture FONTAINEBLEAU Focus and Mo vement Painters, Politics, an d Parks MUSIC / DANCENATURAL / DRAMA SCIENCE I y Fontainebleau MATH Into the Forest ATreebyAnyOther Nam e Photograph or Painting, M. Pa scal? ÎLE-DE-FRANCE A Fore st Outing Think L ike a Salon Juror Form Your Own Ava nt-Garde The Flo ating Studio AUVERGNE/ On the River FRANCHE-COMTÉ Stream of Con sciousness Cheese! Mountains of Fra nce Volcanoes in France? NORMANDY “I Cannot Pain tan Angel” Writing en Plein Air Culture Clash Do-It-Yourself Pointillist Painting BRITTANY Comparing Two Studie s Wish You W ere Here Synthétisme Creating a Moo d Celtic Culture PROVENCE Dressing the Part Regional Still Life Color and Emo tion Expressive Marks Color Collectio n Japanese Prin ts Legend o f the Château Noir The Mistral REVIEW Winds Worldwide Poster Puzzle Travelby Clue Picturing France Classroom Guide NATIONAL GALLERY OF ART, WASHINGTON page ii This Classroom Guide is a component of the Picturing France teaching packet. © 2008 Board of Trustees of the National Gallery of Art, Washington Prepared by the Division of Education, with contributions by Robyn Asleson, Elsa Bénard, Carla Brenner, Sarah Diallo, Rachel Goldberg, Leo Kasun, Amy Lewis, Donna Mann, Marjorie McMahon, Lisa Meyerowitz, Barbara Moore, Rachel Richards, Jennifer Riddell, and Paige Simpson. -
SM a R T M U S E U M O F a R T U N Iv E R S It Y O F C H IC a G O B U L L E T in 2 0 0 6 – 20
http://smartmuseum.uchicago.edu Chicago, Illinois 60637 5550 South Greenwood Avenue SMART SMART M U S EUM OF A RT UN I VER SI TY OFCH ICAG O RT RT A OF EUM S U M SMART 2008 – 2006 N I ET BULL O ICAG H C OF TY SI VER I N U SMART MUSEUM OF ART UNIVERSITY OF CHICAGO BULLETIN 2006– 2008 SMART MUSEUM OF ART UNIVERSITY OF CHICAGO BULLETIN 2006–2008 MissiON STATEMENT / 1 SMART MUSEUM BOARD OF GOVERNORS / 3 REPORTS FROM THE CHAIRMAN AND DiRECTOR / 4 ACQUisiTIOns / 10 LOANS / 34 EXHIBITIOns / 44 EDUCATION PROGRAMS / 68 SOURCES OF SUPPORT / 88 SMART STAFF / 108 STATEMENT OF OPERATIOns / 112 MissiON STATEMENT As the ar t museum of the Universit y of Chicago, the David and Alfred Smar t Museum of Ar t promotes the understanding of the visual arts and their importance to cultural and intellectual history through direct experiences with original works of art and through an interdisciplinary approach to its collections, exhibitions, publications, and programs. These activities support life-long learning among a range of audiences including the University and the broader community. SMART MUSEUM BOARD OF GOVERNORS Robert Feitler, Chair Lorna C. Ferguson, Vice Chair Elizabeth Helsinger, Vice Chair Richard Gray, Chairman Emeritus Marilynn B. Alsdorf Isaac Goldman Larry Norman* Mrs. Edwin A. Bergman Jack Halpern Brien O’Brien Russell Bowman Neil Harris Brenda Shapiro* Gay-Young Cho Mary J. Harvey* Raymond Smart Susan O’Connor Davis Anthony Hirschel* Joel M. Snyder Robert G. Donnelley Randy L. Holgate John N. Stern Richard Elden William M. Landes Isabel C. -
Appendix I Lunar and Martian Nomenclature
APPENDIX I LUNAR AND MARTIAN NOMENCLATURE LUNAR AND MARTIAN NOMENCLATURE A large number of names of craters and other features on the Moon and Mars, were accepted by the IAU General Assemblies X (Moscow, 1958), XI (Berkeley, 1961), XII (Hamburg, 1964), XIV (Brighton, 1970), and XV (Sydney, 1973). The names were suggested by the appropriate IAU Commissions (16 and 17). In particular the Lunar names accepted at the XIVth and XVth General Assemblies were recommended by the 'Working Group on Lunar Nomenclature' under the Chairmanship of Dr D. H. Menzel. The Martian names were suggested by the 'Working Group on Martian Nomenclature' under the Chairmanship of Dr G. de Vaucouleurs. At the XVth General Assembly a new 'Working Group on Planetary System Nomenclature' was formed (Chairman: Dr P. M. Millman) comprising various Task Groups, one for each particular subject. For further references see: [AU Trans. X, 259-263, 1960; XIB, 236-238, 1962; Xlffi, 203-204, 1966; xnffi, 99-105, 1968; XIVB, 63, 129, 139, 1971; Space Sci. Rev. 12, 136-186, 1971. Because at the recent General Assemblies some small changes, or corrections, were made, the complete list of Lunar and Martian Topographic Features is published here. Table 1 Lunar Craters Abbe 58S,174E Balboa 19N,83W Abbot 6N,55E Baldet 54S, 151W Abel 34S,85E Balmer 20S,70E Abul Wafa 2N,ll7E Banachiewicz 5N,80E Adams 32S,69E Banting 26N,16E Aitken 17S,173E Barbier 248, 158E AI-Biruni 18N,93E Barnard 30S,86E Alden 24S, lllE Barringer 29S,151W Aldrin I.4N,22.1E Bartels 24N,90W Alekhin 68S,131W Becquerei -
In Pdf Format
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Large Impact Basins on Mercury: Global Distribution, Characteristics, and Modification History from MESSENGER Orbital Data Caleb I
JOURNAL OF GEOPHYSICAL RESEARCH, VOL. 117, E00L08, doi:10.1029/2012JE004154, 2012 Large impact basins on Mercury: Global distribution, characteristics, and modification history from MESSENGER orbital data Caleb I. Fassett,1 James W. Head,2 David M. H. Baker,2 Maria T. Zuber,3 David E. Smith,3,4 Gregory A. Neumann,4 Sean C. Solomon,5,6 Christian Klimczak,5 Robert G. Strom,7 Clark R. Chapman,8 Louise M. Prockter,9 Roger J. Phillips,8 Jürgen Oberst,10 and Frank Preusker10 Received 6 June 2012; revised 31 August 2012; accepted 5 September 2012; published 27 October 2012. [1] The formation of large impact basins (diameter D ≥ 300 km) was an important process in the early geological evolution of Mercury and influenced the planet’s topography, stratigraphy, and crustal structure. We catalog and characterize this basin population on Mercury from global observations by the MESSENGER spacecraft, and we use the new data to evaluate basins suggested on the basis of the Mariner 10 flybys. Forty-six certain or probable impact basins are recognized; a few additional basins that may have been degraded to the point of ambiguity are plausible on the basis of new data but are classified as uncertain. The spatial density of large basins (D ≥ 500 km) on Mercury is lower than that on the Moon. Morphological characteristics of basins on Mercury suggest that on average they are more degraded than lunar basins. These observations are consistent with more efficient modification, degradation, and obliteration of the largest basins on Mercury than on the Moon. This distinction may be a result of differences in the basin formation process (producing fewer rings), relaxation of topography after basin formation (subduing relief), or rates of volcanism (burying basin rings and interiors) during the period of heavy bombardment on Mercury from those on the Moon. -
Polygonal Impact Craters on Mercury G
43rd Lunar and Planetary Science Conference (2012) 1083.pdf POLYGONAL IMPACT CRATERS ON MERCURY G. T. Weihs1, J. J. Leitner1;2 and M. G. Firneis1;2, 1Institute of Astronomy, University of Vienna, Tuerkenschanzstrasse 17, A-1180 Vienna, Austria; 2Research Platform: ExoLife, University of Vienna, Austria; [email protected] Introduction: A polygonal impact crater (PIC) is a Table 1: List of PICs found on Mercury crater, which shape in plan view is more or less angular, and the rims are composed of several straight segments Quadr.Crater Diameter [km]Latitude [◦]Longitude [◦] [1]. Analyzing the images transmitted back to Earth by H01 Nizami 76.88 70.38 167.12 the spacecrafts Mariner 10 and MESSENGER, polyg- H01 Saikaku 64.06 71.89 178 onal impact craters with at least two straight rim seg- H01 Van Dijck 101.23 75.48 166.89 H02 Monteverdi 133.57 64.5 80.88 ments, were detected on Mercury. H02 Rubens 158.79 60.81 78.27 PICs on Mercury: The search for polygonal impact H02 Stravinsky 129.07 51.97 78.91 craters was carried out, using the database in [2]: In a H03 Verdi 144.55 64.25 169.62 H05 Hokusai 114.03 57.76 343.1 first step each of the 15 quadrangle-maps was optically H06 Al-jahiz 82.86 1.42 21.66 scanned for impact craters with at least two straight H06 Chaikovskij 171.02 7.9 50.87 rims. In a second step the data preparation was resulting H06 Hiroshige 138.42 -13.33 26.97 in a set of two images per PIC, one with marked straight H06 Kuiper 62.32 -11.32 31.4 H06 Lermontov 165.82 15.27 48.91 rims and an original one for the purpose of comparison. -
Autumn Winter
Yale Yale Yale 2019 Autumn • Winter 2019 Autumn • Autumn Winter Contents Architecture & Urban Studies 5,42,43,55,58–61,65,68,69 Art History, Photography & Film i,21,24,37,41–69 Biography & Memoir 2,12,13,17,20,28,35,37,38 Business & Economics 15,32,35,62,70 Current & International Affairs 14,15,29,35–37,39,63,72 Evolution, Ecology, Environment, Natural History 78,79,84 Fashion, Design & Decorative Art 8,18–20,43–45,50,51,56,59,60 History 1,3–7,9–14,16,22,23,26,27,31,34–36,38,39,72–74,80 Jewish Studies 28,31,34,77,84 Literary & Cultural Studies 2,14,15,29,30,33,37–39,82–84 Music & Language 17,28,38,40 New in Paperback & Series 28,30,33–42,83,84 Religion & Philosophy 14,28,33,34,39,40,69,75–77,84 Science & Technology 25,29,39,40,70,71,81 U.S. Studies 39,40,80–81 Picture Credits & Index 85–87 Sales Information 88,89 Rights, Inspection/Review Copy Information 89 Edvard Munch NEW RE-ISSUE Sue Prideaux Who was the man behind The Scream, the iconic painting that so acutely expresses the anguish of the 20th century? Edvard Munch (1863–1944) was twenty-eight when he embarked on a lifelong effort to paint his ‘soul’s diary’ – and began a perverse love affair with self-destruction. This intimate and moving life of the Norwegian artist explores his turbulent early years, his time as a recluse and his intense efforts to paint not what he saw, but what he experienced. -
Thomas Merton and Vincent Van Gogh: the Map of Two Pilgrim Journeys to the True Self in Art and Parable
https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Thomas Merton and Vincent Van Gogh: The map of two Pilgrim Journeys to the True Self in Art and Parable. By Paula Hazel Hutchinson Submitted in fulfilment of the degree of M.Th. University of Glasgow Department of Theology and Religious Studies Centre for the Study of Literature, Theology and the Arts April 2007 © Paula Hazel Hutchinson ProQuest Number: 10396058 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10396058 Published by ProQuest LLO (2017). Copyright of the Dissertation is held by the Author. -
Historic Resource Study: Minidoka Interment Internment National
Historic Resource Study Minidoka Internment National Monument _____________________________________________________ Prepared for the National Park Service U.S. Department of the Interior Seattle, Washington Minidoka Internment National Monument Historic Resource Study Amy Lowe Meger History Department Colorado State University National Park Service U.S. Department of the Interior Seattle, Washington 2005 Table of Contents Acknowledgements…………………………………………………………………… i Note on Terminology………………………………………….…………………..…. ii List of Figures ………………………………………………………………………. iii Part One - Before World War II Chapter One - Introduction - Minidoka Internment National Monument …………... 1 Chapter Two - Life on the Margins - History of Early Idaho………………………… 5 Chapter Three - Gardening in a Desert - Settlement and Development……………… 21 Chapter Four - Legalized Discrimination - Nikkei Before World War II……………. 37 Part Two - World War II Chapter Five- Outcry for Relocation - World War II in America ………….…..…… 65 Chapter Six - A Dust Covered Pseudo City - Camp Construction……………………. 87 Chapter Seven - Camp Minidoka - Evacuation, Relocation, and Incarceration ………105 Part Three - After World War II Chapter Eight - Farm in a Day- Settlement and Development Resume……………… 153 Chapter Nine - Conclusion- Commemoration and Memory………………………….. 163 Appendixes ………………………………………………………………………… 173 Bibliography…………………………………………………………………………. 181 Cover: Nikkei working on canal drop at Minidoka, date and photographer unknown, circa 1943. (Minidoka Manuscript Collection, Hagerman Fossil