The Cumbre Vieja volcano in the Canary Islands began erupting in mid-September 2021. This satellite image, captured October 1st, shows a peculiar bullseye-like cloud over the volcano. (Image credit: L. Dauphin; via NASA Earth Observatory)
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Sky Waves
NASA’s Landsat 8 satellite captured this image of an interesting striped sky over the Indian Ocean. The pattern seen here is the result of ‘mountain wave’ clouds, which form when clouds pass over a raised landform.
The landform in this instance is the remote destination of Amsterdam Island, a volcanic island formed around 300,000 years ago, with a peak of 867 metres (2,844 feet) above sea level. The high peaks on Amsterdam Island can interrupt the air passing overhead, pushing some of the air up into the atmosphere. This rising air is cooled, and subsequently clouds are formed through condensation. However, the rest of the air, which was not forced to rise, remains warm and too low in the atmosphere for cloud formation. These clouds tend to be stationary, and will hang around until another weather pattern of mass of air breaks up the party. The result of this continual, but intermittent, rising of air is a ripple-like pattern that resembles ocean waves.
-Jean
Image courtesy of NASA Earth Observatory
Michael Pisaro — Nature Denatured and Found Again (Gravity Wave)
Nature Denatured and Found Again by Michael Pisaro
Let’s start small; Nature Denatured and Found Again is a document of five summers well spent. In the summer of 2011 Michael Pisaro, an American composer, educator, and musician associated with the Wandelweiser composers collective, traveled to Neufelden, Austria to join artist Joachim Eckl at a former storehouse called Die Station (The Station). It is situated near the Grosse Mühl, a small river that empties into the Danube. Decorated with items culled from movie sets and an old Hilton hotel, it houses some of Eckl’s work and provides living and studio space for visiting artists, who mix with each other and townspeople in encounters intended to realize Joseph Beuys’ concept of “social sculpture” (in a nutshell, the idea that people gathering together can collectively change society through art).
Pisaro first came with the intention to participate in a two-year project during which people would congregate for soundwalks up and downstream from The Station. In addition to taking in the sounds of the river and surrounding forest, participants would stop at shelters and listen to musicians perform 12-minute concerts, some of which featured music that had been composed at The Station. Afterwards the participants would listen to field recordings made during the soundwalks, and then return for another day of walks and sounds, including new ones generated by Pisaro, with these memories in mind. Talk about your antidotes to the hectic pace and distraction of post-internet and cell phone life!
Initially things went well, but then they got complicated. The first two years yielded such profound experiences that Eckl invited Pisaro and others to continue the project, but this was easier said than done. In 2013, a scaled-down version involving walks and field recordings, but no performers or listening shelters, took place. There was no gathering in 2014, and the following year Pisaro, Eckl and a few others did the final walk in a single day. Another year passed before Pisaro finally sat down to deal with the collected material. Art is shaped by the events around it, and Pisaro set to work on Nature Denatured and Found Again on the cusp of Donald Trump’s ascension. Imagine immersing yourself in the work of people bent upon bolstering humanity’s respect for nature when your own president seeks to empower the obtuse but well-financed forces of climate change denial. Since Pisaro lives in California, the time that he worked on this project coincided with the scourge of wildfires raging unchecked in neighborhoods near his own. When an artist’s extraordinary personal experience occurs amidst growing ghastliness, they can either ignore the world around them or deal with it in some way. Pisaro doesn’t deliver a screed against natural destruction, but the respectful way he treats natural sounds in his work and presents them as creative material on a par with man-made sound lets you know what side he’s on.
Nature Denatured and Found Again comprises five CDs, one for every year from 2011-2015. They are broken down into four 12 minute-long tracks. If you have five playback systems on hand, you could play the discs together for a concentrated Nature Denatured experience; here’s hoping that someone somewhere puts together an installation that runs all five discs on shuffle play until all the possible combinations have run out. Pisaro assembled each disc from material relevant to a particular year, but no disc is a straightforward document of its time. Fissures in Green (2011) includes recordings of the musicians and the environment arranged so that they invite a listener to steep in the beauty of woodwinds and water and to consider the similarity between electronically filtered noise and natural sounds, but also periodically jolts you out of reverie and into the moment by intentionally fragmenting said material. Pathsplitter (Yellow Red) (2012) takes inspiration from the experience of hearing and seeing things over and over by processing them with a readymade musical form. A canon is a composition in which a complex musical piece is created by layering different instruments or singers performing the same part at different pitches. For this disc, Pisaro has fashioned one from Jürg Frey’s clarinet, his own white noise and sine tones, and collected environmental sounds.
On Landscape in Black and Grey (2013), Pisaro works exclusively with the sounds he recorded along the Grosse Mühl. Sometimes straight, sometimes edited, sometimes electronically filtered and reassembled, the environment is everything. But for White Light Under the Door (2014), the year that Pisaro didn’t make it to Austria, he works with remembered sound in a room. Specifically he uses electronic tones inspired by the 50-hertz hum of the European electrical grid, layered into sine-tone structures. Since such tones change depending on the shape of the room and the way you orient your ears to them, this is the album’s most personal communication of the box; it’s Pisaro signaling you, from his room to yours.
Hellgrün (Small New World) (2015) confronts the fact of change, and the fact that nature does not remain static while we regard it. The piece’s raw material includes recordings from the project’s earlier years played aloud in The Station’s performance space in 2015, bursts of birdsong, and the sounds of the river recorded at different times. Pisaro shapes, isolates, and recombines these sounds, and honors nature by giving the album’s last word to cicadas, birds and flowing water. This natural music invites us to consider the possibility of its absence. What if all this is gone, and people can’t hear it anymore? Or if mankind figures out too late that its demise is a likely consequence of waging war on nature, will people no longer be around to hear what the world sounds like?
Colorful Airglow Bands Surround Milky Way
Xiaohan Wang
Why would the sky glow like a giant repeating rainbow? Airglow. Now air glows all of the time, but it is usually hard to see. A disturbance however -- like an approaching storm -- may cause noticeable rippling in the Earth's atmosphere. These gravity waves are oscillations in air analogous to those created when a rock is thrown in calm water. Red airglow likely originates from OH molecules about 87-kilometers high, excited by ultraviolet light from the Sun, while orange and green airglow is likely caused by sodium and oxygen atoms slightly higher up. While driving near Keluke Lake in Qinghai Provence in China, the photographer originally noticed mainly the impressive central band of the Milky Way Galaxy. Stopping to photograph it, surprisingly, the resulting sensitive camera image showed airglow bands to be quite prominent and span the entire sky. The featured image has been digitally enhanced to make the colors more vibrant.
Venus is already very weird planet. After greenhouse effect, extreme temperatures, and pressures, dense clouds with crazy rotation speed, now the scientist noticed something new. The strange and unknown structure has been spotted on Venus stretching for 10,000 kilometers in the clouds of its atmosphere. To be even stranger this structure resist the sulfuric clouds, regardless they are spinning faster than the planet itself. Scientists now try to explain it and they have some interesting assumptions.
The atmosphere of Venus is composed primarily of carbon dioxide with sulfuric acid clouds that spins faster that the planet. It is the hottest object after Sun in our Solar System.
Gravity Waves Lighting Up Venus Atmosphere
Last December the camera of Japan’s Akatsuki spacecraft first time spotted anomalies in the upper atmosphere. Scientists from Rikkyo University in Tokyo published their findings in Nature. They captured the area in infrared images and measured that pockets stretching for 10,000 kilometers above the mountainous region of Venus. There has been a lot of speculations about this. However, the best guess is that it’s some sort of gravity wave.
Gravity waves are not gravitational waves. A gravity wave is a wave propagated on a liquid surface or in a fluid through the effects of gravity. So, it is a common thing on rocky planets. Earth example of such waves is the one above The Andes in Patagonia.
What is strange about this Venus gravity wave is that scientist didn’t expect that these waves could forms so high in the atmosphere. Yet, only a massive gravity wave can resist the rotation speed of acid clouds. And the fact that the structure is formed above the Venus mountains proves it even more.
Illustration of surface winds on Venus being pushed up by a mountain, causing tension in the upper atmosphere that slows the high-altitude winds. Credit: ESA
The research team claims that study clearly shows the evidence of the existence of stationary gravity waves. Further, the research reveals that such stationary gravity waves can have a very large scale. This one on Venus is perhaps the greatest ever observed in the Solar System.
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Meteotsunamis, or meteorological tsunamis, are large waves driven by weather rather than seismic energy. Although they occur along shorelines throughout the world, forecasters have very little infrastructure in place to predict or detect them. (Image credit: D. Maglothin; research credit: E. Anderson and G. Mann; via Gizmodo)
Where waves crash and meet, turbulence is inevitable. But exactly how large waves interact -- whether in the ocean, in plasma, or the atmosphere -- is far from understood. (Image credit: ocean waves - M. Power, others - A. Cazaubiel et al.; research credit: A. Cazaubiel et al.; via APS Physics; submitted by Kam-Yung Soh)
Low clouds over the ocean are important for regulating the Earth’s climate as they reflect a lot of solar energy back into space. The dynamics of these clouds are important to understand the planet’s weather and also to understand the shallow ecosystems in the ocean. This video shows something funny happening to these clouds in the southern ocean off the west coast of Africa – they’re literally knocked out of existence by a wave.
Scientists led by a group at NC State collected a number of satellite views of these clouds off the African coast and found that there’s a particular season and time of day where the clouds are just knocked away. The clouds are hit by a gravity wave – a wave in the atmosphere where Gravity is the restoring force (note that this is different from a gravitational wave: https://tmblr.co/Zyv2Js21a6wKe).
Heating during the day over Africa during one specific time of year triggers this gravity wave. The wave migrates as part of a chain heading out to the ocean, and in the process it hits these clouds. Sometimes, gravity waves can lead to the formation of clouds – a wave that pushes air upwards will trigger cloud formation as the air cools. Other times, gravity waves can trigger ripples in the sky, where clouds form in lines as air alternates up and down. At this spot, particularly during the month of May, the wave comes in at just the right altitude and with the right movement to hit these clouds and actually push the air downwards where the clouds vanish.
The scientists who identified this cloud erosion suggest that a series of dropsondes, sensors dropped from planes that are commonly used to measure air conditions in hurricanes, could be targeted at one of these wave fronts to see how much the air is moving and how exactly it triggers cloud collapse. Kinda neat to watch!
-JBB
Video credit and original paper: http://science.sciencemag.org/content/361/6403/697