Northward subglacial drainage during the Mackinaw Interstade in the Cayuga basin, central New York, USA

2020 ◽  
Vol 57 (8) ◽  
pp. 981-998 ◽  
Author(s):  
Daniel E. Karig ◽  
Todd S. Miller
Keyword(s):  
New York ◽  
Drainage System ◽  
Seismic Profiles ◽  
Mohawk Valley ◽  
Subglacial Lake ◽  
Proglacial Lakes ◽  
Lake Outlet ◽  
Water Wells ◽  
History Of ◽  
Subglacial Drainage

The history of deglaciation in the Finger Lakes region since the Valley Heads readvance is questioned by recent research in the Cayuga basin, which concludes that, instead of forming a series of proglacial lakes, drainage during the Mackinaw Interstade was into the Laurentide ice sheet. First suspected in the Dryden–Virgil Valley where there is an absence of a lake outlet or surficial lacustrine deposits, this conclusion was explicitly revealed in the Sixmile–Willseyville trough where ice margin channels funneled water into the ice front. Further support was found in the Cayuga Inlet Valley, where a kettle kame terrane sloped northward into the ice front. Northward drainage was preceded by southerly drainage, with reversal occurring about 16.3 kyr ago. Multi-channel seismic profiles at the south end of Lake Cayuga reveal a south-sourced subaqueous sedimentary fan at the base of the lacustrine sequence. This fan is correlated with a coarse and heterogeneous clastic sequence penetrated in water wells in the City of Ithaca and requires northward drainage into a subglacial lake, which precludes the existence of proglacial lakes Ithaca, Newberry, and Hall. The proposed subglacial flow path is through the Cayuga trough, exiting the ice front eastward in the Mohawk Valley. Subglacial drainage from the Cayuga trough probably was part of a regional subglacial drainage system during the Mackinaw Interstade. Studies north of Lake Ontario have led to the proposal of a subglacial lake in the Ontario basin at that time, which likely also drained into the Mohawk Valley.

scholarly journals Investigating the stability of subglacial lakes with a full Stokes ice-sheet model

2008 ◽  
Vol 54 (185) ◽  
pp. 353-361 ◽  
Author(s):  
Frank Pattyn
Keyword(s):  
Ice Sheet ◽  
Drainage System ◽  
Potential Gradient ◽  
Surface Slope ◽  
Ice Flow ◽  
Subglacial Lake ◽  
Lake Drainage ◽  
Subglacial Lakes ◽  
The Impact ◽  
Subglacial Drainage

AbstractDespite the large amount of subglacial lakes present underneath the East Antarctic ice sheet and the melt processes involved, the hydrology beneath the ice sheet is poorly understood. Changes in subglacial potential gradients may lead to subglacial lake outbursts, discharging excess water through a subglacial drainage system underneath the ice sheet. Such processes can eventually lead to an increase in ice flow. In this paper, a full Stokes numerical ice-sheet model was employed which takes into account the ice flow over subglacial water bodies in hydrostatic equilibrium with the overlying ice. Sensitivity experiments were carried out for small perturbations in ice flow and basal melt rate as a function of ice thickness, general surface slope, ice viscosity and lake size, in order to investigate their influence on the subglacial potential gradient and the impact on subglacial lake drainage. Experiments clearly demonstrate that small changes in surface slope are sufficient to start and sustain episodic subglacial drainage events. Lake drainage can therefore be regarded as a common feature of the subglacial hydrological system and may influence, to a large extent, the present and future behavior of large ice sheets.

Messy, Energetic, Intense: A Roundtable Conversation among New York's Asian American Experimental Filmmakers of the Eighties with Roddy Bogawa, Daryl Chin, Shu Lea Cheang, and Rea Tajiri

2020 ◽  
Vol 73 (3) ◽  
pp. 66-78
Author(s):  
Vince Schleitwiler ◽  
Abby Sun ◽  
Rea Tajiri
Keyword(s):  
New York ◽  
New York City ◽  
Asian American ◽  
York City ◽  
American Film ◽  
The Sixties ◽  
History Of

This roundtable grew out of conversations between filmmaker Rea Tajiri, programmer Abby Sun, and scholar Vince Schleitwiler about a misunderstood chapter in the history of Asian American film and media: New York City in the eighties, a vibrant capital of Asian American filmmaking with a distinctively experimental edge. To tell this story, Rea Tajiri contacted her artist contemporaries Shu Lea Cheang and Roddy Bogawa as well as writer and critic Daryl Chin. Daryl had been a fixture in New York City art circles since the sixties, his presence central to Asian American film from the beginning. The scope of this discussion extends loosely from the mid-seventies through the late nineties, with Tajiri, Abby Sun, and Vince Schleitwiler initiating topics, compiling responses, and finalizing its form as a collage-style conversation.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

Beérkezett könyvek

2008 ◽  
Vol 63 (4) ◽  
pp. 769-770
Author(s):  
Csaba Pléh
Keyword(s):  
New York ◽  
Point Of View ◽  
Cambridge University ◽  
New Science ◽  
Oxford University ◽  
History Of ◽  
The Mind ◽  
Oxford University Press

Danziger, Kurt: Marking the mind. A history of memory . Cambridge University Press, Cambridge, 2008Farkas, Katalin: The subject’s point of view. Oxford University Press, Oxford, 2008MosoninéFriedJudités TolnaiMárton(szerk.): Tudomány és politika. Typotex, Budapest, 2008Iacobini, Marco: Mirroring people. The new science of how we connect with others. Farrar, Straus and Giroux, New York, 2008Changeux, Jean-Pierre. Du vrai, du beau, du bien.Une nouvelle approche neuronale. Odile Jacob, PárizsGazzaniga_n

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