Our results highlight the need to understand subglacial meltwater availability on an ice sheet-wide scale to predict future dynamic changes. The difference may be determined by meltwater availability, which in some regions may be influenced by perennial firn aquifers. These patterns reveal differences in which some subglacial systems likely transition seasonally from inefficient, distributed hydrologic networks to efficient, channelized drainage, while others do not. The other two patterns are more prevalent and appear to be meltwater controlled. One pattern indicates relatively high glacier sensitivity to ice-front position. Among glaciers with substantial speed variations, we find three distinct seasonal velocity patterns. We present a 5 year record of seasonal velocity measurements for 55 marine-terminating glaciers distributed around the ice sheet margin, along with ice-front position and runoff data sets for each glacier. Predicting Greenland Ice Sheet mass loss due to ice dynamics requires a complete understanding of spatiotemporal velocity fluctuations and related control mechanisms. Moon, Twila Joughin, Ian Smith, Ben van den Broeke, Michiel R van de Berg, Willem Jan Noël, Brice Usher, Mika At the Beiluhe sampling site, the diurnal variation of BC is different and less distinct.« lessĭistinct patterns of seasonal Greenland glacier velocity
Airborne BC concentrations at the Ranwusampling site showed a significant diurnal cyclewith a peak shortly after sunrise followed by a decrease before noon in both winter and spring, likely shaped by local human activities and the diurnal variation of wind speed. In the northern TP, BC had high concentrations during spring and summer seasons, which is very likely associated with more efficient transport of BC over the arid regions on the north of Tibetan Plateau and in Central Asia. Thewinter and spring seasonal peak of BC in the southern TP is largely contributed by emissions from South Asia, and this seasonal variation is heavily influenced by the regional monsoon. At Ranwu, BC was dominated by the air masses from the northeastern India and Bangladesh in both winter and spring, whereas at Beiluhe it was largely contributed by air masses from the south slope of Himalayas in winter, and from the arid region in the north of the TP in spring. Potential BC source regions are identified using air mass backward trajectory analysis. Local precipitation atmore » both sites showed little impact on the seasonal variation of airborne BC concentrations. By examining the meteorological conditions at various scales, we found that themonthly variation of airborne BC over the southeastern Tibetan Plateau (TP) was highly influenced by regional precipitation and over the hinterland by winds. Monthly mean BC concentrations showawinter (November–February) high (413.2 ng m $-$3) and spring (March–June) low(139.1 ng m $-$3) at Ranwu, but in contrast awinter lowand spring high at Beiluhe (204.8 and 621.6 ng m $-$3, respectively). Tim Berresheim lives and works in Aachen, Germany.Two distinct patterns of seasonal variation of airborne black carbon over Tibetan PlateauĪirborne black carbon (BC) mass concentrations were measured from November 2012 to June 2013 at Ranwu and Beiluhe, located in the southeastern and central Tibetan Plateau, respectively.
Berresheim takes these juxtapositions a step further by printing his images by inkjet onto wood and therewith combining the technologically astute digital quality of his work with an organic and traditional printing surface.īerresheim has exhibited internationally including Traenen&Taeuschen - too long didn’t read SOS, Galerie Thomas Flor, Berlin, 2012 Future Gipsy Antifolklore What?!, Marc Jancou Contemporary, New York, 2012 Phoenix - The Guilty Pleasure, Patrick Painter Inc., Santa Monica, 2010 Out from Here and Now Galerie Hammelehle and Ahrens, Cologne, 2010 and EXERCISE (ALARM), Stefan Schuelke Fine Books, Cologne, 2010. His abstracted line work and tangled compositions evoke likeness with expressive brushstrokes, and yet, they reveal themselves as precise three-dimensional digital renderings. His work expands upon previous limitations of traditional media to coerce two-dimensional planes into what the artist describes as “visual sculptures”. German artist Tim Berresheim (b.1975) combines traditional media like photography, painting and collage with digital technology in order to explore, critique and illustrate the contemporary relationship between art and technology.