Tracing pre-eruptive magma degassing using (Pb-210/Ra-226) disequilibria in the volcanic deposits of the 1980-1986 eruption of Mount St. Helens

Disequilibria between Pb-210 and Ra-226 can be used to trace magma degassing, because the intermediate nuclides, particularly Rn-222, are volatile. Products of the 1980-1986 eruptions of Mount St. Helens have been analysed for (Pb-210/Ra-226). Both excesses and deficits of Pb-210 are encountered suggesting rapid gas transfer. The time scale of diffuse, non-eruptive gas escape prior to 1980 as documented by Pb-210 deficits is on the order of a decade using the model developed by Gauthier and Condomines (Earth Planet. Sci. Lett. 172 (1999) 111-126) for a non-renewed magma chamber and efficient Rn removal. The time required to build-up Pb-210 excess is much shorter (months) as can be observed from steady increases of (Pb-210/Ra-226) with time during 1980-1982. The formation of Pb-210 excess requires both rapid gas transport through the magma and periodic blocking of gas escape routes. Superposed on this time trend is the natural variability of (Pb-210/Ra-226) in a single eruption caused by tapping magma from various depths. The two time scales of gas transport, to create both Pb-210 deficits and Pb-210 excesses, cannot be reconciled in a single event. Rather Pb-210 deficits are associated with pre-eruptive diffuse degassing, while Pb-210 excesses document the more vigorous degassing associated with eruption and recharge of the system. (c) 2006 Elsevier B.V. All rights reserved.

Parallel editing, multi-positionality and maximalism: cosmopolitan effects as explored in some art works by Melanie Jackson and Vivienne Dick

Garfield produces a critique of neo-minimalist art practice by demonstrating how the artist Melanie Jackson’s Some things you are not allowed to send around the world (2003 and 2006) and the experimental film-maker Vivienne Dick’s Liberty’s booty (1980) – neither of which can be said to be about feeling ‘at home’ in the world, be it as a resident or as a nomad – examine global humanity through multi-positionality, excess and contingency, and thereby begin to articulate a new cosmopolitan relationship with the local – or, rather, with many different localities – in one and the same maximalist sweep of the work. ‘Maximalism’ in Garfield’s coinage signifies an excessive overloading (through editing, collage, and the sheer density of the range of the material) that enables the viewer to insert themselves into the narrative of the work. In the art of both Jackson and Dick Garfield detects a refusal to know or to judge the world; instead, there is an attempt to incorporate the complexities of its full range into the singular vision of the work, challenging the viewer to identify what is at stake.