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This project focuses on using Neutral Gas and Ion Mass Spectrometer (NGIMS) density data for carbon dioxide, oxygen, carbon monoxide, and nitrogen during deep dip campaigns 5, 6, and 8. Density profiles obtained from NGIMS were plotted against simulated density profiles from the Mars Global Ionosphere-Thermosphere Model (MGITM). Averaged temperature profiles were also plotted for the three deep dip campaigns, using NGIMS data and MGITM output. MGITM was also used as a tool to uncover potential heat balance terms needed to reproduce the mean density and temperature profiles measured by NGIMS.
This method of using NGIMS data as a validation tool for MGITM simulations has been tested previously using dayside data from deep dip campaigns 2 and 8. In those cases, MGITM was able to accurately reproduce the measured density and temperature profiles; however, in the deep dip 5 and 6 campaigns, the results are not quite the same, due to the highly variable nature of the nightside thermosphere. MGITM was able to fairly accurately reproduce the density and temperature profiles for deep dip 5, but the deep dip 6 model output showed unexpected significant variation. The deep dip 6 results reveal possible changes to be made to MGITM to more accurately reflect the observed structure of the nighttime thermosphere. In particular, upgrading the model to incorporate a suitable gravity wave parameterization should better capture the role of global winds in maintaining the nighttime thermospheric structure.
This project reveals that there still exist many unknowns about the structure and dynamics of the night side of the Martian atmosphere, as well as significant diurnal variations in density. Further study is needed to uncover these unknowns and their role in atmospheric mass loss.
This method of using NGIMS data as a validation tool for MGITM simulations has been tested previously using dayside data from deep dip campaigns 2 and 8. In those cases, MGITM was able to accurately reproduce the measured density and temperature profiles; however, in the deep dip 5 and 6 campaigns, the results are not quite the same, due to the highly variable nature of the nightside thermosphere. MGITM was able to fairly accurately reproduce the density and temperature profiles for deep dip 5, but the deep dip 6 model output showed unexpected significant variation. The deep dip 6 results reveal possible changes to be made to MGITM to more accurately reflect the observed structure of the nighttime thermosphere. In particular, upgrading the model to incorporate a suitable gravity wave parameterization should better capture the role of global winds in maintaining the nighttime thermospheric structure.
This project reveals that there still exist many unknowns about the structure and dynamics of the night side of the Martian atmosphere, as well as significant diurnal variations in density. Further study is needed to uncover these unknowns and their role in atmospheric mass loss.
ContributorsRobinson, Jenna (Author) / Desch, Steven (Thesis director) / Hervig, Richard (Committee member) / School of Earth and Space Exploration (Contributor) / School for the Future of Innovation in Society (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
ContributorsASU Library. Music Library (Publisher)
Description
The Nash, a jazz venue in Phoenix, Arizona, is an example of a decades-long process of the formalization of jazz—being codified as an art music relying on academic and philanthropic support. Formalization developed as jazz began to be taken seriously as art music worth of critical evaluation from critics, academics, and the hallowed establishments of American high art. Jazz became increasingly dependent on an infrastructure of institutional support, and a neoclassical ideology sought to define what styles of jazz were ‘real’ and worthy of preservation. In Phoenix, the origins of The Nash were laid in 1977 when Jazz in Arizona was formed, a non-profit organization that aimed to support jazz through information dissemination, music scholarships, festival organizing, and attending jazz events throughout Arizona. The Nash was conceived as a way to more fully engage young people in the community. Herb Ely, a prominent Phoenix attorney and philanthropist, pitched the idea to Joel Goldenthal, then Executive Director of Jazz in Arizona. The venue was built under the auspices of Jazz in Arizona, and operates as the organization’s headquarters. In keeping with the broader trend of formalization, The Nash presents jazz as a performance of artistic expression. Continued philanthropic support allows The Nash a degree of independence from economic concerns. The Nash is also committed to providing support for jazz education, by partnering with local educational institutions and presenting educational programming. The focus on providing opportunities for young musicians, as well as its location in the hip neighborhood of Roosevelt Row have contributed to The Nash becoming relatively popular among young people. However, the formalized approach to jazz espoused by The Nash has created some conflicts within the Phoenix jazz community, as some professional musicians feel that The Nash is underpaying musicians for their labor. The American Federation of Musicians Local 586 argues that musicians are workers, and The Nash ought to be paying union scale.
ContributorsBelliston, Lincoln Tyler (Author) / Davis, T. J. (Thesis director) / Hutchinson, Mary (Committee member) / Bridgewater, Devon (Committee member) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Mechanical and Aerospace Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
Witching Hours is the debut studio album of Chicago-born, Phoenix-residing trumpet player John Michael Sherman. It is a consummation of his work in the Arizona State University jazz studies program both as a performer and composer. Featured on the album are several other musicians who John Michael played alongside throughout his tenure at ASU, including Chaz Martineau on tenor saxophone, Evan Rees on piano, Reid Riddiough on guitar, Vince Thiefain on bass, Matt McClintock on drums, and Dan Meadows on baritone saxophone. The album features seven pieces, all original compositions or arrangements. The first track, "Workin' My Nerves", is a blues shuffle in the key of F. This is followed by "Scarborough Fair", an arrangement of the classic English folk tune in a rock style. The title track, "Witching Hours", is an cadaverous linear composition in 7/4 which is followed by "Goliath", a pseudo-tone poem about the biblical giant. "I Should Have Known" is a pensive ballad featuring an a capella intro and cadenza, followed by the most recent composition, a minor blues-esque piece entitled "Who Said That?" The final track, "Don't Change A Thing", is an upbeat samba which was written in John Michael's first year of college. These pieces demonstrate an understanding of the jazz tradition and exhibit influences from such musicians as Clifford Brown, Freddie Hubbard, Wayne Shorter, and Snarky Puppy. The album was recorded at Tempest Recording in Tempe and produced by Clarke Rigsby. Clarke is a veteran recording engineer and is the first choice of many of Phoenix's finest jazz musicians, including thesis director and head of the ASU jazz department Michael Kocour. The pieces were composed and recorded under the guidance of Mike Kocour and Jeff Libman. Witching Hours represents a culmination of John Michael's course in the Arizona State University jazz department and his endeavors as a trumpet player and composer.
ContributorsSherman, John Michael (Author) / Kocour, Michael (Thesis director) / Libman, Jeffrey (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
Leonard Hayflick studied the processes by which cells age during the twentieth and twenty-first centuries in the United States. In 1961 at the Wistar Institute in the US, Hayflick researched a phenomenon later called the Hayflick Limit, or the claim that normal human cells can only divide forty to sixty times before they cannot divide any further. Researchers later found that the cause of the Hayflick Limit is the shortening of telomeres, or portions of DNA at the ends of chromosomes that slowly degrade as cells replicate. Hayflick used his research on normal embryonic cells to develop a vaccine for polio, and from HayflickÕs published directions, scientists developed vaccines for rubella, rabies, adenovirus, measles, chickenpox and shingles.
ContributorsBartlett, Zane (Author) / Turriziani Colonna, Federica (Editor) / Elliott, Steve (Editor) / Arizona State University. School of Life Sciences. Center for Biology and Society. Embryo Project Encyclopedia. (Publisher) / Arizona Board of Regents (Publisher)
Created2014-07-20
Description
Although best known for his work with the fruit fly, for which he earned a Nobel Prize and the title "The Father of Genetics," Thomas Hunt Morgan's contributions to biology reach far beyond genetics. His research explored questions in embryology, regeneration, evolution, and heredity, using a variety of approaches.
ContributorsSunderland, Mary E. (Author) / Arizona State University. School of Life Sciences. Center for Biology and Society. Embryo Project Encyclopedia. (Publisher) / Arizona Board of Regents (Publisher)
Created2007-09-25
ContributorsMarine Biological Laboratory Archives (Publisher) / Arizona Board of Regents (Publisher)
Created1935
ContributorsHuettner, Alfred F. (Alfred Francis), b. 1884 (Creator) / Marine Biological Laboratory Archives (Publisher)
Created1918