STRATA
STRATA, the STudent Research, Academic, and Talent Archive, is a collection of selected Fort Lewis College student work, including undergraduate research, senior seminar papers, published works, conference presentations, and other creative and artistic projects. Search by name, subject, title, or academic department.
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- Kinematic Compatibility Analysis of the Ouray Fault, Southwestern Colorado
- "The Ouray fault is one of the best exposed structures in southwestern Colorado. The fault has controlled geomorphic expression and drainage evolution around the town of Ouray. Although the fault has been described in publications for over half a century, no previous research documents strike-slip or curved slickenlines. There has been speculation regarding the timing of movement, and there has not been any detailed study of the fault's kinematics. This information is important for understanding the fault's history and the influences of faulting on other geologic events. In this investigation, a compatibility analysis was conducted from discretely analyzed data sets of normal and dextral slickenlines on the Ouray fault to test whether these features are linked by a common deformation source, or heterogeneous deformation. Orientation measurements of the fault surface and slickenlines provided data for stereographic paleostress analyses. The Ouray fault is defined by a N70W general strike, steep to vertical dips, 100 meters average stratigraphic separation, dominant two-mile trace bounding the northern basement extent, and splays on its east and west extents near contact with 28-26 Ma volcanic rocks. Quartz vein surfaces confine and reasonably constrain the strike-slip component to Cenozoic Laramide events or later (approximately 70-30 Ma). The compatibility analyses suggest these features are incompatible as indicated by the orientation discrepancy between compared normal and dextral P-T axes data sets. Discretely analyzed data sets yielded averaged shortening orientations of 48,173 for normal, and 3,144 for dextral slickenlines. It is hypothesized that incompatible principal stresses acted on the fault during the latest period of major displacement, changing the shortening and lengthening directions of the fault, and consequently slip sense. Strongly curved slickenlines documented at the fault further support interpretations of slip sense change and may also suggest a single event contributed to fault failure and reactivation. The analytical and field data in this research suggest during Cenozoic time, there was a temporal and spatial slip direction change to the Ouray fault that may have contributed to the fault's dextral slip component. "
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- Kinematic Modeling of the Rampart Range Fault, Colorado Springs, Colorado
- Keywords: Rampart Range Fault, Precambrian, Holocene, Colorado Springs, Geology, Geometric modeling, trishear zone The Rampart Range Fault zone forms the boundary between the Precambrian basement of the Front Range and the Paleozoic and younger sedimentary rocks of the plains near Colorado Springs, Colorado. The fault may have been active as recently as the Holocene, based on offset of late Tertiary and Quaternary fill near the Air Force Academy and magnitude 2.8 to 4.0 earthquakes near Colorado Springs in the 1990s. The fault has a complex geometry where it is exposed in the Garden of the Gods, with numerous splay faults that have opposite dip directions from the master fault. Geometric and kinematic modeling of the Rampart Range fault were conducted using Midland Valley's structural modeling and analysis program Move™. Geometric modeling using flexural slip unfolding did balance the cross-section with minor imperfections. Kinematic forward modeling using trishear reproduced a similar overall geometry to the cross-section. Although splay faults were not generated by the trishear modeling, they can be explained as accommodation of the thickening of mechanically strong units (such as the Dakota Sandstone, the Lyons Formation, and the Fountain Formation) in the hinge of the trishear zone.
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- Kuratowski Numbers of Finite Topological Spaces
- Presentation from the 8th Annual Natural & Behavioral Sciences Undergraduate Research Symposium, Fort Lewis College.
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- La Plata and Vallecito and the Milky Way
- Photographs from the Fall 2010 - Winter 2011 edition of Images.
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- Lake and Mountain
- Photograph by Morgan Galvin from Fall 2013 - Winter 2014 issue of Images
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- Lancaster - Consent Form
- Consent form for "Determining the Basement Fault Structure of the Hogback Monocline in Northwest NM Using Fracture Patterns and Geomechanical Modeling" by Van Lancaster
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- Landscape and Memory Archaeology Creating a Sense of Place in Time
- Several years ago my grandmother gave my father an old picture of several children and an older gentleman posed in front of a building. Looking at the photo, many questions raced through my mind. Upon the first round of informal questioning about the picture I realized that the photo was taken in front of an old one-room schoolhouse in the Walnut Creek area northwest of Prescott, Arizona. What makes this photo significant to my family and myself is that three of the students, Minnie, Asa, and Orville Bozarth in the photo, were my great great aunt and uncles. Further questioning about the school led me to the realization that very little was known about the school, its significance, and where it once stood. The goal of my research is to bridge the historic cultural significance of this schoolhouse on the landscape to people who are tied in a contemporary context to the area through memories of its archaeological past. To accomplish this, a multi component research design has been pursued utilizing interviews of key informants, archival data collection, and archeo-geophysical testing.
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- Language
- Poem by Mareesa Villair from Fall 2012 - Winter 2013 issue of Images.
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- Largo Al Factotum from Il Barbiere Di Siviglia by Gioachino Rossini
- In an endeavor to master Largo al Factotum from Il Barbiere di Siviglia by Gioachino Rossini, a post-capstone continuation of my voice instruction and technical development, I was faced with many challenges despite a vast amount of familiarity with this art form. Being an extroverted and even boisterous person with a booming voice and a tendency to overblow my sound, I found that I would quite frequently hurt my vocal cords resulting in over-exhaustion, straining, and an inability to complete big arias from start-to-finish. Through repetition of mistakes, I was eventually able to learn how to circumvent this bad habit via an application of good technique. With a heightened skill level and new perspectives, I am now able to perform full-fledged operatic passages among other traditional and contemporary genres easier than ever. My methods focus on tension-free and well-supported breathing and articulation in concert with an emphasis on posture and musicality. My approach is to perform with the utmost concentration on all of these facets, bringing high quality tone, dynamics, color, and natural resonance to the voice but even more importantly to the music. In order to execute this piece properly, I had to essentially become Figaro. By reading not only the character descriptions but also the detailed play synopses from both operas Il barbiere di Siviglia and Le nozze di Figaro, I was able to characterize Figaro into a tangible persona that I related to and understood as well as my own tendencies and desires. In Il barbiere di Siviglia, which happens 3 years before the marriage of Figaro, he demonstrates his role as not only a clever and resourceful servant but also as an admirable common man without nobility. Throughout the operas his trickster personality is reflected in both the libretto and in the music. In this way I was able to provide context to the Italian language in the libretto. Each word has a unique meaning relevant to the story and a unique expression assigned to it within the musical parameters of the phrase. My key findings from this trial-and-error based experiential research are that good quality singing is stress free, unobstructed, and understatedly phenomenal. The humility of the voice is self-evident and needs no idiosyncratic attempts at embellishment. Good quality technique is harnessing healthy, athletic, diaphragmatic energy that appears effortless and organic when executed properly. Through the combination of good, consistent instruction, an open mind, and at least ten thousand hours of dedicated practice, anybody can become a professional opera singer.
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- Leaf Series 1
- Artwork by Kristina Orlovsky from Fall 2012 - Winter 2013 issue of Images
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- Leaf Series 2
- Artwork by Kristina Orlovsky from Fall 2012 - Winter 2013 issue of Images