Data insertion in volcanic ash cloud forecasting

During the eruption of Eyjafjallajökull in April and May 2010, the London Volcanic Ash  Advisory Centre demonstrated the importance of infrared (IR) satellite imagery for monitoring volcanic ash and validating the Met Office operational model, NAME. This model is used to forecast ash dispersion and forms much of the basis of the advice given to civil aviation. NAME requires a source term describing the properties of the eruption plume at the volcanic source. Elements of the source term are often highly uncertain and significant effort has therefore been invested into the use of satellite observations of ash clouds to constrain them. This paper presents a data insertion method, where satellite observations of downwind ash clouds are used to create effective ‘virtual sources’ far from the vent. Uncertainty in the model output is known to increase over the duration of a model run, as inaccuracies in the source term, meteorological data and the parameterizations of the   modelled processes accumulate. This new technique, where the dispersion model (DM) is ‘reinitialized’ part-­way through a run, could go some way to addressing this.

Evaluation of a polynya flux model by means of thermal infrared satellite estimates

We test the ability of a two-dimensional flux model to simulate polynya events with narrow open-water zones by comparing model results to ice-thickness and ice-production estimates derived from thermal infrared Moderate Resolution Imaging Spectroradiometer (MODIS) observations in conjunction with an atmospheric dataset. Given a polynya boundary and an atmospheric dataset, the model correctly reproduces the shape of an 11 day long event, using only a few simple conservation laws. Ice production is slightly overestimated by the model, owing to an underestimated ice thickness. We achieved best model results with the consolidation thickness parameterization developed by Biggs and others (2000). Observed regional discrepancies between model and satellite estimates might be a consequence of the missing representation of the dynamic of the thin-ice thickening (e.g. rafting). We conclude that this simplified polynya model is a valuable tool for studying polynya dynamics and estimating associated fluxes of single polynya events.

A morphometric comparison of the Namib and southwest Kalahari dunefields using ASTER GDEM data

The increased availability of digital elevation models and satellite image data enable testing of morphometric relationships between sand dune variables (dune height, spacing and equivalent sand thickness), which were originally established using limited field survey data. These long-established geomorphological hypotheses can now be tested against very much larger samples than were possible when available data were limited to what could be collected by field surveys alone. This project uses ASTER Global Digital Elevation Model (GDEM) data to compare morphometric relationships between sand dune variables in the southwest Kalahari dunefield to those of the Namib Sand Sea, to test whether the relationships found in an active sand sea (Namib) also hold for the fixed dune system of the nearby southwest Kalahari. The data show significant morphometric differences between the simple linear dunes of the Namib sand sea and the southwest Kalahari; the latter do not show the expected positive relationship between dune height and spacing. The southwest Kalahari dunes show a similar range of dune spacings, but they are less tall, on average, than the Namib sand sea dunes. There is a clear spatial pattern to these morphometric data; the tallest and most closely spaced dunes are towards the southeast of the Kalahari dunefield; and this is where the highest values of equivalent sand thickness result. We consider the possible reasons for the observed differences and highlight the need for more studies comparing sand seas and dunefields from different environmental settings.

Dancing, skating and sex: action and text in the digital age

This paper explores the relationship between discourse and action in practices involved in making and consuming texts. Texts are produced through the process of ‘entextualization’ in which strips of action and discourse are extracted from their original contexts and recontextualized into other situations. Different technologies for turning actions into texts affect the kinds of social actions and social identities that are made possible both at moments of entextualization and at future moments of recontextualization. In particular, I focus on how digital technologies affect the practices and participation structures around entextualization. Digital photography and video have had a profound effect on social practices and relationships around the making of texts. Specifically, they have made processes of entextualization more immediate, more contingent and more communal. Implications of these features of digital text making are discussed in light of previous work on literacy and orality.

Aesthetical and narrative uses of the trench in the Hollywood cinema of 1918-1930

Throughout history of painting, the representation of landscape has been considered a laboratory for the human gaze on the world. The First World War and its new approach to the battlefield altered deeply the classical forms of representation, and replaced them with a mechanised and fragmentary vision, which was related with the development of photography and cinema. As Vicente J. Benet has analysed, Hollywod cinema used these deep changes in its filmic versions of the conflict, although it organised them following a narrative logic. In this text we intend to study how the battlefield and, particularly, the trench, are inserted in this logic of the history of landscape painting. We do so through some Hollywood films from the period 1918-1930. Firstly, we approach the trench as a composition value which can structure the image and guide the camera movement. In the second place, we study how it creates a dialog between its inside, melodrama scenery, and the outside, battlefield and danger. In both cases, we conclude that the trench as a form and as a narrative element plays a structuring and integrative role with the storytelling logic.