Modeling the impact of large-scale solid mass transfers on the gravity field

The focus of this thesis is to explore and quantify the response of large-scale solid mass transfer events on satellite-based gravity observations. The gravity signature of large-scale solid mass transfers has not been deeply explored yet; mainly due to the lack of significant events during dedicated satellite gravity missions‘ lifespans. In light of the next generation of gravity missions, the feasibility of employing satellite gravity observations to detect submarine and surface mass transfers is of importance for geoscience (improves the understanding of geodynamic processes) and for geodesy (improves the understanding of the dynamic gravity field). The aim of this thesis is twofold and focuses on assessing the feasibility of using satellite gravity observations for detecting large-scale solid mass transfers and on modeling the impact on the gravity field caused by these events. A methodology that employs 3D forward modeling simulations and 2D wavelet multiresolution analysis is suggested to estimate the impact of solid mass transfers on satellite gravity observations. The gravity signature of various submarine and subaerial events that occurred in the past was estimated. Case studies were conducted to assess the sensitivity and resolvability required in order to observe gravity differences caused by solid mass transfers. Simulation studies were also employed in order to assess the expected contribution of the Next Generation of Gravity Missions for this application.

(Re)Imagining Relationality: Brad Isaacs and The Map of the Empire

The exhibition, The Map of the Empire (30 March – 6 May, 2016), featured photography, video, and installation works by Toronto-based artist, Brad Isaacs (Mohawk | mixed heritage). The majority of the artworks within the exhibition were produced from the Canadian Museum of Nature’s research and collections facility (Gatineau, Québec). The Canadian Museum of Nature (CMN), is the national natural history museum of (what is now called) Canada, with its galleries located in Ottawa, Ontario. The exhibition was the first to open at the Centre for Indigenous Research Creation at Queen’s University under the supervision of Dr. Dylan Robinson. Through the installment of The Map of the Empire, Isaacs effectively claimed space on campus grounds – within the geopolitical space of Katarokwi | Kingston – and pushed back against settler colonial imaginings of natural history. The Map of the Empire explored the capacity of Brad’s artistic practice in challenging the general belief under which natural history museums operate: that the experience of collecting/witnessing/interacting with a deceased and curated more-than-human animal will increase conservation awareness and facilitate human care towards nature. The exhibition also featured original poetry by Cecily Nicholson, author of Triage (2011) and From the Poplars (2014), as a response to Brad’s artwork. I locate the work of The Map of the Empire within the broader context of curatorship as a political practice engaging with conceptual and actualized forms of slow violence, both inside of and beyond the museum space. By unmapping the structures of slow, showcased and archived violence within the natural history museum, we can begin to radically transform and reimagine our connections with more-than-humans and encourage these relations to be reciprocal rather than hyper-curated or preserved.