Volcanic Related Quotes

There's nothing sexier than imaging myself as an Oxford comma getting unambiguously banged. Throw in a semicolon in between two closely related independent clauses, and a volcanic love of punctuation eruption is guaranteed.

The mind is more comfortable in reckoning probabilities in terms of the relative frequency of remembered or imagined events. That can make recent and memorable events - a plane crash, a shark attack, an anthrax infection - loom larger on one's worry list than more frequent and boring events, such as the car crashes and ladder falls that get printed beneath the fold on page B14. And it can lead risk experts to speak one language and ordinary people to hear another. In hearings for a proposed nuclear waste site, an expert might present a fault tree that lays out the conceivable sequences of events by which radioactivity might escape. For example, erosion, cracks in the bedrock, accidental drilling, or improper sealing might cause the release of radioactivity into groundwater. In turn, groundwater movement, volcanic activity, or an impact of a large meteorite might cause the release of radioactive wastes into the biosphere. Each train of events can be assigned a probability, and the aggregate probability of an accident from all the causes can be estimated. When people hear these analyses, however, the are not reassured but become more fearful than ever. They hadn't realized there are so many ways for something to go wrong! They mentally tabulate the number of disaster scenarios, rather than mentally aggregating the probabilities of the disaster scenarios.

These samurai swords were made from a special type of steel called tamahagane, which translates as “jewel steel,” made from the volcanic black sand of the Pacific (this consists mostly of an iron ore called magnetite, the original material for the needle of compasses). This steel is made in a huge clay vessel four feet tall, four feet wide, and twelve feet long called a tatara. The vessel is “fired”—hardened from molded clay into a ceramic—by lighting a fire inside it. Once fired, it is packed meticulously with layers of black sand and black charcoal, which are consumed in the ceramic furnace. The process takes about a week and requires constant attention from a team of four or five people, who make sure that the temperature of the fire is kept high enough by pumping air into the tatara using a manual bellows. At the end the tatara is broken open and the tamahagane steel is dug out of the ash and remnants of sand and charcoal. These lumps of discolored steel are very unprepossessing, but they have a whole range of carbon content, some of it very low and some of it high. The samurai innovation was to be able to distinguish high-carbon steel, which is hard but brittle, from low-carbon steel, which is tough but relatively soft. They did this purely by how it looked, how it felt in their hands, and how it sounded when struck. By separating the different types of steel, they could make sure that the low-carbon steel was used to make the center of the sword. This gave the sword an enormous toughness, almost a chewiness, meaning that the blades were unlikely to snap in combat. On the edge of the blades they welded the high-carbon steel, which was brittle but extremely hard and could therefore be made very sharp. By using the sharp high-carbon steel as a wrapper on top of the tough low-carbon steel they achieved what many thought impossible: a sword that could survive impact with other swords and armor while remaining sharp enough to slice a man’s head off. The best of both worlds.

The tropics were an olfactory revelation. She realized that, coming from a temperate place like the other Santa Cruz, her own Santa Cruz, she’d been like a person developing her vision in poor light. There was such a relative paucity of smells in California that the interconnectedness of all possible smells was not apparent. She remembered a college professor explaining why all the colors the human eye could see could be represented by a two-dimensional color wheel: it was because the retina had receptors for three colors. If the retina had evolved with four receptors, it would have taken a three-dimensional color sphere to represent all the ways in which one color could bleed into another. She hadn’t wanted to believe this, but the smells at Los Volcanes were convincing her. How many smells the earth alone had! One kind of soil was distinctly like cloves, another like catfish; one sandy loam was like citrus and chalk, others had elements of patchouli or fresh horseradish. And was there anything a fungus couldn’t smell like in the tropics? She searched in the woods, off the trail, until she found the mushroom with a roasted-coffee smell so powerful it reminded her of skunk, which reminded her of chocolate, which reminded her of tuna; smells in the woods rang each of these notes and made her aware, for the first time, of the distinguishing receptors for them in her nose. The receptor that had fired at Californian cannabis also fired at Bolivian wild onions. Within half a mile of the compound were five different flower smells in the neighborhood of daisy, which itself was close to sun-dried goat urine. Walking the trails, Pip could imagine how it felt to be a dog, to find no smell repellent, to experience the world as a seamless many-dimensional landscape of interesting and interrelated scents. Wasn’t this a kind of heaven? Like being on Ecstasy without taking Ecstasy? She had the feeling that if she stayed at Los Volcanes long enough she would end up smelling every smell there was, the way her eyes had already seen every color on the color wheel.

That Man is presented as a blind geologic force, such as volcanic eruptions or variations in solar radiation, is an expression of the naturalized or fetishized form of social relations that is prevalent in capitalism.

Inbreeding is more prevalent on islands, and genetic diversity accordingly lower, as descent from a small founding population and isolation from the wider world reduces the likelihood of hooking up with someone who isn't a relative. Iceland, for example, is full of tall, blond, sexy people because most Icelanders are descended from a small group of migratory tall, blond, sexy people. There has been little further immigration to Iceland over the centuries because most people don't want to freeze on an isolated volcanic rock while being made to feel short, swarthy and unattractive.

believe Mr. Charles is related to a nasty kind of monster called a bináá’ yee aghání. These are vicious bird creatures that the original Monsterslayer imprisoned at Tsé Bit’a’í, the volcanic pillar now called Shiprock. Mr. Charles is a shape-shifter,

We know that relatively minor sea-level rises could set off major ice-sheet breakups, and it has been suggested by Stephen Oppenheimer that the tremendous earthquakes caused by isostatic rebalancing at the end of the Ice Age could have stirred up 'mountain-topping superwaves' in the northern regions of the Atlantic and Pacific Oceans. Other than Oppenheimer's own investigations, however, my impression is that while many brilliant individual scientists have studied individual post-glacial phenomena in great depth, very little has yet been done to investigate all these phenomena together as part of a complex system or to consider the effects on the earth and its human population of multiple, interacting cataclysms -- floods, lands subsiding into the sea, earthquakes, volcanic eruptions -- all occurring at the same time.

Poverty has few distinctions among its victims,” observed Hamlin Garland in an 1897 novel set amidst the rise of Populism. Describing a protest of Kansas farmers, he wrote, “The negro stood close beside his white brother in adversity, and there was a certain relation and resemblance in their stiffened walk, poor clothing, and dumb, imploring, empty hands.” The spectacle, Garland continued, was “something tremendous, something far-reaching. The movement it represented had the majesty, if not the volcanic energy, of the rise of the peasants of the Vendee.

In fact, scientists have taken advantage of this effect by using the amount of red in contemporary paintings of sunsets to estimate the intensity of volcanic eruptions. Several Greek scientists, led by C. S. Zerefos, digitally measured the amount of red—relative to other primary colors—in more than 550 samples of landscape art by 181 artists from the sixteenth through the nineteenth centuries to produce estimates of the amount of volcanic ash in the air at various times. Paintings from the years following the Tambora eruption used the most red paint; those after Krakatoa came a close second.