Visual Techniques for Geological Fieldwork Using Mobile Devices

Visual techniques in general and 3D visualisation in particular have seen considerable adoption within the last 30 years in the geosciences and geology. Techniques such as volume visualisation, for analysing subsurface processes, and photo-coloured LiDAR point-based rendering, to digitally explore rock exposures at the earth’s surface, were applied within geology as one of the first adopting branches of science. A large amount of digital, geological surface- and volume data is nowadays available to desktop-based workflows for geological applications such as hydrocarbon reservoir exploration, groundwater modelling, CO2 sequestration and, in the future, geothermal energy planning. On the other hand, the analysis and data collection during fieldwork has yet to embrace this ”digital revolution”: sedimentary logs, geological maps and stratigraphic sketches are still captured in each geologist’s individual fieldbook, and physical rocks samples are still transported to the lab for subsequent analysis. Is this still necessary, or are there extended digital means of data collection and exploration in the field ? Are modern digital interpretation techniques accurate and intuitive enough to relevantly support fieldwork in geology and other geoscience disciplines ? This dissertation aims to address these questions and, by doing so, close the technological gap between geological fieldwork and office workflows in geology. The emergence of mobile devices and their vast array of physical sensors, combined with touch-based user interfaces, high-resolution screens and digital cameras provide a possible digital platform that can be used by field geologists. Their ubiquitous availability increases the chances to adopt digital workflows in the field without additional, expensive equipment. The use of 3D data on mobile devices in the field is furthered by the availability of 3D digital outcrop models and the increasing ease of their acquisition. This dissertation assesses the prospects of adopting 3D visual techniques and mobile devices within field geology. The research of this dissertation uses previously acquired and processed digital outcrop models in the form of textured surfaces from optical remote sensing and photogrammetry. The scientific papers in this thesis present visual techniques and algorithms to map outcrop photographs in the field directly onto the surface models. Automatic mapping allows the projection of photo interpretations of stratigraphy and sedimentary facies on the 3D textured surface while providing the domain expert with simple-touse, intuitive tools for the photo interpretation itself. The developed visual approach, combining insight from all across the computer sciences dealing with visual information, merits into the mobile device Geological Registration and Interpretation Toolset (GRIT) app, which is assessed on an outcrop analogue study of the Saltwick Formation exposed at Whitby, North Yorkshire, UK. Although being applicable to a diversity of study scenarios within petroleum geology and the geosciences, the particular target application of the visual techniques is to easily provide field-based outcrop interpretations for subsequent construction of training images for multiple point statistics reservoir modelling, as envisaged within the VOM2MPS project. Despite the success and applicability of the visual approach, numerous drawbacks and probable future extensions are discussed in the thesis based on the conducted studies. Apart from elaborating on more obvious limitations originating from the use of mobile devices and their limited computing capabilities and sensor accuracies, a major contribution of this thesis is the careful analysis of conceptual drawbacks of established procedures in modelling, representing, constructing and disseminating the available surface geometry. A more mathematically-accurate geometric description of the underlying algebraic surfaces yields improvements and future applications unaddressed within the literature of geology and the computational geosciences to this date. Also, future extensions to the visual techniques proposed in this thesis allow for expanded analysis, 3D exploration and improved geological subsurface modelling in general.publishedVersio

Field sketching and the interpretation of landscape : exploring the benefits of fieldwork and drawing in contemporary landscape practice

This thesis explores potential roles for field sketching in, landscape observation and assessment, landscape planning and design, landscape representation, and in addressing the experiential dimension of the landscape.The research seeks to define and legitimise the old technique of field sketching, and the use and development of field sketches by students and practitioners of landscape architecture, and other landscape disciplines. The wider values of, fieldwork, hand -generated field notations, drawing as an interactive dialogue with others, and the sketch as a type of landscape representation, are also recognised.Whilst accurate representation and precise geometrical definition of the landscape can now be achieved quickly with photographs and by semi - automated digital means, interpretation requires careful observation. Sketching involves an observer stopping and looking and interpreting slowly and carefully. Field sketching and the uses of the field sketch are proposed as bringing an effectiveness to landscape work, valuable because of the interpretation it involves, and the time it does take: timeless because of its simplicity.A personal way of working is investigated, based on a Grounded Theory approach. Systematic analysis of case studies is made through reflection-on-practice. Practice observations (data) are collated and interpreted by practical sorting tasks, to propose a series of how to do and why important principles regarding field sketching. External support for the research findings is sought from literature, considering the broad themes of: fieldwork and the experience of landscapes, field sketching and drawing as craft and expression, and developing and using field sketches.Applications for field sketching to meet contemporary needs in landscape architecture are proposed: the sketch as a designer's tool, sketch-based visualisations as interpretive images, and field sketching as a participative technique that can be used to engage the inquirer, collaborators, and the public with landscape experience -grounded decisions

Understanding geological hazards to support disaster risk assessment in Indonesia : a report on a collaborative workshop between Resilience Development Initiative and the British Geological Survey

Indonesia encompasses one of the most active tectonic regions on Earth. Geological hazards in the country are a potent threat to a large and vulnerable population. It is therefore important that decisions made by disaster managers are informed by the best available earth science. However, large areas remain unstudied, with limited knowledge of past behaviour impacting understanding of future hazards and risks. To understand the challenges and research opportunities related to natural hazards in Indonesia, the Resilience Development Initiative (RDI) and British Geological Survey (BGS) organised a collaborative workshop over two days in January 2022. The workshop provided an opportunity to bring together key stakeholders in disaster risk science and management in Indonesia. The workshop aimed to discuss and offer a forum to explore research needs in terms of understanding, measuring, mitigating, and modelling geological hazards in Indonesia, with a specific focus on earthquakes, landslides, volcanoes and tsunamis. The main findings from this exercise are summarised below. Fundamental hazard assessment. A common theme across the four geological hazards discussed was the need to improve fundamental hazard assessments. For earthquakes, this involves improving the understanding of crustal faults at the local level and feeding this into national hazard assessment exercises. For landslides, a significant challenge raised was the resolution of susceptibility maps. There is a need to produce local hazard assessments considering local geological and environmental conditions. For volcanoes, the challenges were around understanding how past activity can be used to inform understanding of future hazards. However, participants agreed that it is difficult to understand the potential range of activity at infrequently active volcanoes, making hazard assessment more challenging. The main challenge for tsunamis was understanding the relative importance of various tsunami mechanisms. Earthquake-triggered tsunamis are relatively well understood compared to tsunamis triggered by volcanic eruptions and sediment movement. Baseline geological data. High-quality, up-todate, and complete data are the foundation of the best quality science. It is therefore imperative to collect and manage baseline data. For hazard assessments, there is a clear need for geological data to provide knowledge of past events and understand the possible future activity. Key points were raised around data availability and accessibility, where datasets are stored and who is responsible for storing, maintaining, and sharing data. An important first step to improving knowledge of hazards is to first determine how much data exists and where there are data gaps that can be filled through collaborative research. Collaboration and interdisciplinary working. Disaster Risk Reduction (DRR) challenges require a holistic approach to hazard research and management. Common across all hazards is the need to work across different groups, from researchers to stakeholders and local communities, and across disciplines of science and education, in cluding geology, engineering, sociology, and psychology, among others. Collaboration in every aspect of geological hazard monitoring in Indonesia is crucial among stakeholders. Integration between researchers, government, community and media is needed to close the gap between geological hazards research and community risk perception. Community and culture. Indonesia is a vast country with different communities and cultures. In some communities, there may be a tendency for people to trust local beliefs over official sources such as local scientists or the government. Researchers need to understand and respect the different structures that exist in different communities and find appropriate ways of communicating that are sensitive to these dynamics. Involving communities in the scientific process is a critical way of embedding a safety culture into communities. Transient populations such as displaced peoples, tourists and migrants were identified as particularly vulnerable to geological hazards. Understanding how to reduce the risk to these populations is an important research gap. Communication and engagement. Communication could be improved by involving communities in the scientific process, co-developing outreach and education programs for schools and communities, and through the use of citizen science tools. Additionally, exploring the use of storytelling through traditional art, poems, songs, stories, and films can be a way of raising awareness of hazards and remembering and learning from past events. Institutional responsibilities. The DRR lifecycle from hazard monitoring to crisis response requires precise coordination, collaboration, and division of responsibilities. Making progress on hazard science requires an understanding of institutional roles and responsibilities, and clarity on mandates and relationships between different government organisations and research institutions

Uncovering strata: an investigation into the graphic innovations of geologist Henry T. De la Beche

An historical investigation into the types of illustrations in the Golden Age of Geology (1788-1840) revealed the nature and progression of graphic representation at the dawning of geology as a science. Exhaustive sampling of geology texts published in the period of focus proceeded until saturation was achieved. Qualitative analysis and evaluation of early illustrations were accomplished with Edward R. Tufte\u27s theory of graphic design. Hypothesis testing around a correlation coefficient revealed significance at the 99% confidence level for relationships between publication year and number of included graphics, and publication year and the graphic density of texts. Henry T. De la Beche emerged as an important geologist who made numerous innovative graphic contributions in the Golden Age of Geology. De la Beche promoted colliding theory graphics, or the accurate portrayal of the earth\u27s sections and scenes that would remain valuable for future generations of geologists. He was apparently the first geologist to utilize the small multiple format. De la Beche also designed and drew scientific caricatures that encapsulated the theoretical debates of the day, as well as the social, cultural, and historical influences on the emerging theories of geology. These scientific caricatures have emerged as instructional graphics with significant classroom potential for teaching the nature of science. De la Beche also drew the first portrayal of a scene from deep time, Duria antiquior, which became the first innovative classroom geology teaching graphic. Through his introduction and development of several important genres of visual explanation, De la Beche emerged as the Father of Visual Geology Education

Pixelated Domes: Cinematic Code Changes through a Frank Lloyd Wright Lens

Panoramic 360-degree documentary videos continue to saturate the visual landscape. As practitioners\u27 experiment with a new genre, understanding meaning and making awaits the academic and marketplace landscape. The new media journey of 360-degree documentary storytelling is ripe for media archaeologist to explore. New media scholar Lev Manovich (2016) believes we are witnessing the new emergence of a cultural metalanguage, something that will be at least as significant as the printed word and cinema before it (p. 49) Considering the meta- development of this new media genre, my dissertation seeks to discuss the historical roots of the panoramic image, define 360-degree Cinematic Virtual Reality (CVR) documentary video, establish production distinctions between 360-degree CVR and two-dimensional documentary video, and reveal the spatial cognitive abilities of 360-degree documentary video. The purpose of this dissertation study is to establish a media archaeological context of the 360-degree image and reveals the development of new cinematic code variations between 360 CVR modalities and two-dimensional documentary form. The theoretical framework developed within this study will inform current and future 360-degree documentary narrative engagement practices. Secondly, this project seeks to evaluate spatial cognition levels when viewing a Frank Lloyd Wright walking tour through 360 CVR modalities and examine the influence this has on narrative engagement comparative to traditional two-dimensional documentary form

Drawing Anthropocene

This edition proposes an examination of the relationship between drawing – a practice of traces – and the concept of Anthropocene. This is a timely lens through which to examine research engaging drawing in relation to current debates on environmental crisis and invite reflection on the value of drawing in the context of deep time. The term Anthropocene, coined at the start of the new millennium by geochemist Paul Crutzen, denotes a new period of geological time, reflecting the extent to which human activity is making its mark on geologic stratigraphy. Essentially, for geologists, the legacy of the Anthropocene will be the traces that our existence will leave in the geologic record in times to come. We might even see this as a collaborative durational drawing spanning the development and demise of human existence! While there remains debate about the precise starting point of the Anthropocene (and it has yet to be formally acknowledged by the International Committee on Stratigraphy), the concept is now widespread and in common usage as a byword for human impact on the environment. This tension provides a useful provocation, one that prompts questions about how drawing might function in relation to climate crisis and what knowledge it might produce. For example, drawing may examine areas of contention: petrochemicals and carbon release, resource extraction, more than human agency, migrations, or post-human and planetary futures. Drawing is an activity of tracing, layering, erasure, the drawn mark often belies the process of its making. It has been called a “trace fossil” (Halperin, 2013). Over the course of the twentieth century tenets of drawing - arguably the trace of an action made over a surface – have been tested, stretched and exploded as artists embraced performance, land art, soundscapes as forms of drawing. Drawing now has many identities, from lines in sand, footprints in the snow, or vapor trails in the sky (Dexter, 2005: 6). Acknowledging, as many do, that environmental traces - foot prints, tidelines – are a form of drawing, what might this offer for using drawing as a lens through which to enter critical debates on environment? Conversely, how might new thinking emerging from earth sciences and geo humanities reveal new insights into what it means to make a drawing be it conventional or expanded

Johannesburg climate change observatory: scale of temporality: architecture as a mediator

The population of the city of Gauteng is expected to double by 2055 (Landau and Gindrey, 2008), which in turn is expected to exacerbate the effects of climate change within the city of Johannesburg. As pressure from the growing population and climate change mounts, existing open space will have to be assessed and its value will determine its function on a natural, social and economic level. This thesis explores the distinct spatial condition of the Johannesburg ridge as a contested landscape of sensitive ecologies and cultures. These remaining fragments of ecological infrastructures within the city can manifest spaces of encounters and introduce a discussion about climate change and the future. This dissertation investigates architecture’s mediating role in the contested landscapes, both physical and psychological. In terms of the physical landscape, any architectural interventions erected on the ridge would need to act as a mediator between the sensitive ridge ecology and the temporality of its diverse multicultural user composition. Design spaces and their proposed uses would need to work towards promoting a successful balance between different modes of knowledge. I propose a research institute located on the Melville Koppies West (MKW) ridge that will provide an interface between science and society that is accessible to the public. For the purpose of this dissertation I will call the research institute the Johannesburg Climate Change Observatory (JCCO). By creating a platform where different constituencies can overlap, new meanings can be negotiated and a cross-pollination of knowledge can thrive. I have studied the contested landscape extensively and have documented my observations through a series of interviews, photographs, mappings, sketches and physical models. The general consensus in the scientific community is that if we do not change the way we think about climate change by the year 2045 we will reach a point of no return for our planet. The JCCO is constructed to be dismantled because of the sensitive nature of the site and as a commentary on the nature of climate change. The intervention then becomes an extension of the site, improving ecological function and extending the existing sacred landscape. This in turn preserves the evolving palimpsest that is the Melville Koppies. As climate change affects communities all over the world the JCCO will become a critical intervention against entrenched practices that are contributing to climate change. It is a building typology that has been constructed through understanding the social dimensions of a physical phenomenon in a particular place, and is one that should be considered everywhere as each intervention of this nature needs to emerge from a similarly meaningful understanding relevant to the dynamics of different sites. The MKW presents a unique opportunity to preserve an ancient ecological landscape, to maintain an active cultural landscape, and at the same time, by respecting both, to create a new space that could give rise to new ideas and paradigms that in turn will lead to the transformative change required to address climate change

Nose-first: practices of smellwalking and smellscape mapping

This thesis examines qualitatively-perceived spatial and temporal characteristics of the olfactory landscape, hereafter known as the smellscape, through mapping practices. Human olfactory perception contributes to our understanding of the world; people delight in localised scents. Slight whiffs can enable pre-visualisation of a forthcoming activity, serve as a summary synthesis of previously-witnessed events and have the capacity to evoke situated memories. However, the smellscape is in constant flux and ephemeral, volatile smells are easy to ignore when experienced by ordinary people in everyday, urban environments. The apparent invisibility of smell as a physical entity, and as a social construct, in the prevailing sensory order has led scholars to call for further studies in how smellscapes may be detected, recorded and shared. This interdisciplinary, practice-based, communication design research responds to debates in olfactory art and urbanism that highlight the challenges inherent in obtaining and sharing a vast, ephemeral and eye-invisible sensory dataset. Concerned with representation and communication of the smellscape as theorised by J. Douglas Porteous and activated by Victoria Henshaw, the research explores how social performative mapping might contribute to communication of non-visual sensory olfactory information. In so doing it tests existing theories to build a deeper understanding of the smellscape. The thesis is divided into six chapters and includes two case studies situated in Singapore and Kyiv. Through iteration I test the smellwalk as a data-collection and mapping activity and investigate and record the spatial and temporal qualities of smell within contemporary, quotidian, urban environments. Drawing on interdisciplinary methods, sensewalking, agentic mapping, rhythmanalysis and creative practice, I develop and apply original approaches to practices of smellscape mapping as a means of analysing, interpreting and communicating a theorised fragmentary and episodic olfactory landscape. The findings include a model of dimensional olfactory space, durational differences in smells between mornings and evenings in single locations, multi-scalar temporalities of a city, polyrhythmic relationships between the situated human body and a range of smells, and a series of projective mappings that render visible olfactory-sensed information. My original contribution to knowledge includes mapping strategies to examine relationships between smells and space, smells and place, smells and time, and smells and people. By providing cohesive approaches and procedures for smell detection and collection, together with symbol sets and processes for the representation of human-experienced smells, I establish practices of smellwalking and smellscape mapping as platforms for conceptualising and sharing the complexity of human-sensed olfactory perception. These practices might be utilised by communication designers, geographers, environmentalists, architects, urban designers, city authorities and arts organisations interested in visualising and communicating situated, human, sensory experience. The work contributes to the nascent field of sensory communication design