The vertical structure of oceanic Rossby waves: a comparison of high-resolution model data to theoretical vertical structures

Tests of the new Rossby wave theories that have been developed over the past decade to account for discrepancies between theoretical wave speeds and those observed by satellite altimeters have focused primarily on the surface signature of such waves. It appears, however, that the surface signature of the waves acts only as a rather weak constraint, and that information on the vertical structure of the waves is required to better discriminate between competing theories. Due to the lack of 3-D observations, this paper uses high-resolution model data to construct realistic vertical structures of Rossby waves and compares these to structures predicted by theory. The meridional velocity of a section at 24° S in the Atlantic Ocean is pre-processed using the Radon transform to select the dominant westward signal. Normalized profiles are then constructed using three complementary methods based respectively on: (1) averaging vertical profiles of velocity, (2) diagnosing the amplitude of the Radon transform of the westward propagating signal at different depths, and (3) EOF analysis. These profiles are compared to profiles calculated using four different Rossby wave theories: standard linear theory (SLT), SLT plus mean flow, SLT plus topographic effects, and theory including mean flow and topographic effects. Our results support the classical theoretical assumption that westward propagating signals have a well-defined vertical modal structure associated with a phase speed independent of depth, in contrast with the conclusions of a recent study using the same model but for different locations in the North Atlantic. The model structures are in general surface intensified, with a sign reversal at depth in some regions, notably occurring at shallower depths in the East Atlantic. SLT provides a good fit to the model structures in the top 300 m, but grossly overestimates the sign reversal at depth. The addition of mean flow slightly improves the latter issue, but is too surface intensified. SLT plus topography rectifies the overestimation of the sign reversal, but overestimates the amplitude of the structure for much of the layer above the sign reversal. Combining the effects of mean flow and topography provided the best fit for the mean model profiles, although small errors at the surface and mid-depths are carried over from the individual effects of mean flow and topography respectively. Across the section the best fitting theory varies between SLT plus topography and topography with mean flow, with, in general, SLT plus topography performing better in the east where the sign reversal is less pronounced. None of the theories could accurately reproduce the deeper sign reversals in the west. All theories performed badly at the boundaries. The generalization of this method to other latitudes, oceans, models and baroclinic modes would provide greater insight into the variability in the ocean, while better observational data would allow verification of the model findings.

Collabowrighting the hyper(play)text: a postdramatic digital poetics

The aim of this research is to exhibit how literary playtexts can evoke multisensory trends prevalent in 21st century theatre. In order to do so, it explores a range of practical forms and theoretical contexts for creating participatory, site-specific and immersive theatre. With reference to literary theory, specifically to semiotics, reader-response theory, postmodernism and deconstruction, it attempts to revise dramatic theory established by Aristotle’s Poetics. Considering Gertrude Stein’s essay, Plays (1935), and relevant trends in theatre and performance, shaped by space, technology and the everchanging role of the audience member, a postdramatic poetics emerges from which to analyze the plays of Mac Wellman and Suzan-Lori Parks. Distinguishing the two textual lives of a play as the performance playtext and the literary playtext, it examines the conventions of the printed literary playtext, with reference to models of practice that radicalize the play form, including works by Mabou Mines, The Living Theatre and Fiona Templeton. The arguments of this practice-led Ph.D. developed out of direct engagement with the practice project, which explores the multisensory potential of written language when combined with hypermedia. The written thesis traces the development process of a new play, Rumi High, which is presented digitally as a ‘hyper(play)text,’ accessible through the Internet at www.RumiHigh.org. Here, ‘playwrighting’ practice is expanded spatially, collaboratively and textually. Plays are built, designed and crafted with many layers of meaning that explore both linguistic and graphic modes of poetic expression. The hyper(play)text of Rumi High establishes playwrighting practice as curatorial, where performance and literary playtexts are in a reciprocal relationship. This thesis argues that digital writing and reading spaces enable new approaches to expressing the many languages of performance, while expanding the collaborative network that produces the work. It questions how participatory forms of immersive and site-specific theatre can be presented as interactive literary playtexts, which enable the reader to have a multisensory experience. Through a reflection on process and an evaluation of the practice project, this thesis problematizes notions of authorship and text.