scholarly journals A SEDIMENT TRAPPING EXPERIMENT AT SANTA CRUZ, CA.

1980 ◽  
Vol 1 (17) ◽  
pp. 84
Author(s):  
R.J. Seymour ◽  
G.W. Domurat ◽  
D.M. Pirie
Keyword(s):  
San Francisco ◽  
Entrance Channel ◽  
Monterey Bay ◽  
Northern Coast ◽  
Santa Cruz ◽  
Littoral Drift ◽  
The West ◽  
Sediment Trapping ◽  
Plant Construction ◽  
Inner Channel

Santa Cruz Harbor is located on the northern coast of Monterey Bay, California, approximately 104 kilometers south of San Francisco and 22 kilometers north of Moss Landing, as shown in Figures 1 and 2. Harbor construction was authorized by Congress under the Rivers and Harbors Act of 195S, which provided for a harbor to accommodate light-draft vessels in Woods Lagoon at the eastern boundary of Santa Cruz. The authorized improvements included two rubblemound jetties 360 meters long and 243 meters long, on the west and east sides of an entrance channel, respectively — an entrance channel approximately 270 meters long, 30 meters wide and 6 meters deep, reducing to 45 meters in depth at the same width for an additional HI meters — an inner channel, 240 meters long, 45 meters wide, 45 meters deep, reducing to 3 meters in depth at the same width for an additional 100 meters — a'turning basin approximately 90 meters long, 75 meters wide, and 3 meters deep, and a sand-bypassing plan. Figure 3 shows the project features. The armor units of the seaward side of the west jetty are 28-ton quadripods. The west jetty also has a concrete cap extending to elevation +4. 8 meters MLLW. Construction of the harbor was initiated in February of 1962 with the dredging of Woods Lagoon and the start of work on the west jetty. The west jetty was completed in February 1963. Then work began on the east jetty, and it was completed in April 1963. The entrance channel was dredged to the project dimensions in the summer of 1963. Construction of Santa Cruz Harbor was completed in November 1963, with the exception of the sand-bypassing plant. Construction of the sand-bypassing plant was deferred until the littoral drift rate could be more accurately determined.

Silicon San Francisco and the West Bay Wall

2018 ◽  
pp. 150-185
Author(s):  
Alex Schafran
Keyword(s):  
Economic Growth ◽  
Twentieth Century ◽  
San Francisco ◽  
Silicon Valley ◽  
The West ◽  
The People ◽  
New Residents

Silicon Valley as we know it emerged in part from encounters between the technology of the valley and the Bohemian culture of San Francisco. This San Francisco–Silicon Valley nexus would produce one of the most dynamic economic growth stories any region has ever seen. Over the course of the latter part of the twentieth century, this encounter eventually turned both San Francisco and Silicon Valley into massive jobs engines. This chapter examines the spaces where this engine was most powerful, the places that drove the economic cart which attracted so many new residents and so much investment. These are also the places that largely did either very little or not enough to house the people who held these jobs. They did even less for those who had suffered under the segregated conditions of the earlier era.

Guitar Forum: The Flute, Viola, Guitar Trio: Its History, Literature and Performance

1986 ◽  
Vol 36 (4) ◽  
pp. 73-76
Author(s):  
Douglas Hensley
Keyword(s):  
New York ◽  
Chamber Music ◽  
San Francisco ◽  
Classical Guitar ◽  
The West ◽  
Master's Degrees ◽  
Private Lessons ◽  
Additional Information ◽  
The Past ◽  
And Performance

Douglas Hensley has been an active chamber musician ever since he took up serious study of the classical guitar. He received bachelor and master's degrees under the direction of David Tanenbaum from the San Francisco Conservatory of Music and he has studied with many other musicians in private lessons and master classes. Over the past ten years he has premiered close to fifty new compositions, performed numerous U.S. premieres and the West Coast premiere of Elliott Carter's “Changes” for solo guitar. For Opus One Records in New York he has recorded Larry Polansky's “Hensley Variations” and David Loeb's “Trois Cansos” with flautist Kenneth Kramer and violist John Casten. He has also recorded a collection of duets with Japanese shakuhachi master Masayuka Koga, “Autumn Mist,” for Fortuna Records of Novato, California. His principal activities are as cofounder (with violist/violinist John Casten) and guitarist of the San Francisco-based contemporary performance ensemble ISKRA, which is made up of flute, clarinet, guitar, violin/viola, doublebass and soprano voice. Anyone with additional information about flute, viola, guitar trios (or other chamber music with guitar), or queries, is urged to contact him at 607-A Frederick St., San Francisco, CA 94117.

scholarly journals Dancing to Rock & Roll Poetry

2013 ◽  
Vol 3 (2) ◽  
pp. 72-81
Author(s):  
Christine Bacareza Balance
Keyword(s):  
San Francisco ◽  
Third World ◽  
Film Noir ◽  
Jessica Hagedorn ◽  
The West ◽  
Pivot Point ◽  
Gangsta Rap ◽  
Bay Area ◽  
Political Work ◽  
Work Done

On October 30, 1975—a historical pivot point between 1930s film noir and 1990s gangsta rap— Bay Area poet Nashira Priester introduced to San Francisco State University’s (SFSU) Poetry Center audience the city’s latest musical outlaws: the West Coast Gangster Choir, a multi-racial ensemble of vocalists and musicians led by then-emerging poet Jessica Hagedorn. This article chronicles Hagedorn's development as a poet and performer, analyzing the cultural and political work done by the Gangster Choir as a Third World movement with an internationalist perspective on local issues.

scholarly journals Beyond Hollywood

2011 ◽  
Vol 1 (4) ◽  
pp. 69-75
Author(s):  
Scott Simmon
Keyword(s):  
San Francisco ◽  
Motion Picture ◽  
Lake Tahoe ◽  
The West ◽  
Tourist Destination ◽  
Film Preservation ◽  
San Fernando ◽  
San Fernando Valley ◽  
Narrative Film

California’s forgotten movie heritage is on view in the National Film Preservation Foundation’s Treasures 5: The West, 1898-1938 DVD set. Included among the 40 films are such fictional ones as The Sergeant (1910, the first surviving narrative film shot in Yosemite), Salomy Jane (1914, from the San Francisco-based California Motion Picture Corp.) and Over Silent Paths (1910, shot in the San Fernando Valley when it was still a desert). Even more revealing are the nonfiction types, including Romance of Water (1931, from the L.A. Department of Water and Power), Sunshine Gatherers (1921, from Del Monte), and two 1916 travelogues that document the beginning of auto tourism: Seeing Yosemite with David A. Curry and Lake Tahoe, Land of the Sky. These once-forgotten films stand as testimony to the complexity of the West—as a concept, a landscape, a borderland, a tourist destination, a burgeoning economy, and an arena for clashing cultures.

Small animal species in the livelihoods of small-scale farmers in tropical Bolivia

2004 ◽  
Vol 33 ◽  
pp. 117-132
Author(s):  
R.T. Paterson ◽  
F. Rojas
Keyword(s):  
Animal Species ◽  
Small Animal ◽  
Small Scale ◽  
Santa Cruz ◽  
The West ◽  
North West ◽  
Ph Values ◽  
The Andes ◽  
Small Scale Farmers ◽  
The City

In the Bolivian Department of Santa Cruz, the Provinces of Sara and Ichilo lie some 100 km North-West of the city of Santa Cruz de la Sierra, where they occupy an area of about 21,000 km2. Most of the region is a flat, alluvial plain, 350-450 m above sea level, with young soils prone to localized, seasonal waterlogging, although the land becomes undulating and rises to 800 m as it approaches the foothills of the Andes to the west. The soils are moderately fertile with pH values often in the range of 4.5 to 5.5.

Origin Time of the 1854 Ansei–Tokai Tsunami Estimated from Tide Gauge Records on the West Coast of North America

2020 ◽  
Vol 91 (5) ◽  
pp. 2624-2630 ◽  
Author(s):  
Satoshi Kusumoto ◽  
Kentaro Imai ◽  
Ryoko Obayashi ◽  
Takane Hori ◽  
Narumi Takahashi ◽  
...  
Keyword(s):  
North America ◽  
San Francisco ◽  
Local Time ◽  
West Coast ◽  
San Diego ◽  
Arrival Time ◽  
Tide Gauge ◽  
The West ◽  
Origin Time ◽  
Tsunami Signal

Abstract We estimated the origin time of the 1854 Ansei–Tokai tsunami from the tsunami waveforms recorded at three tide gauge stations (Astoria, San Francisco, and San Diego) on the west coast of North America. The tsunami signal is apparent in the San Francisco and San Diego records, and the arrival time was 0–1 p.m. Greenwich Mean Time (GMT) on 23 December 1854, whereas the tsunami signal of Astoria is ambiguous, and the arrival time could not be determined from the waveform. The simulated waveforms on the basis of nonlinear dispersive wave theory by assuming an origin time of 0 a.m. GMT on 23 December arrived earlier than the observations. Cross-correlation functions between the observed and simulated waveforms recorded at San Francisco and San Diego showed a time gap between them of approximately 30 min. Based on these results, we concluded that the origin time of the 1854 Ansei–Tokai tsunami was approximately 00:30 a.m. GMT or 09:46 local time on 23 December. Our result is roughly consistent with reports by a Russian frigate anchored in Shimoda Bay, ranging the earthquake between 09:00 and 09:45 and the tsunami between 09:30 and 10:00. The earthquake was also reported in historical Japanese documents ranging from 8 and 10 o’clock in local time.

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