Termination of a fossil continent-ocean fracture zone imaged with three-dimensional seismic data: The Chain Fracture Zone, eastern equatorial Atlantic

Geology ◽  
2005 ◽  
Vol 33 (8) ◽  
pp. 641-644 ◽  
Author(s):  
Richard J. Davies ◽  
Christopher J. MacLeod ◽  
Richard Morgan ◽  
Sepribo E. Briggs

Abstract We describe the first three-dimensional imaging of the termination of a continent-ocean fracture zone (COFZ), the Chain Fracture Zone, located offshore of the Niger Delta. The COFZ marks the abrupt transition between extended continental crust, comprising multiple half-graben, and oceanic crust that has a pervasive seafloor-spreading fabric. It preserves a history of continent-continent shearing followed by oceanic crust accretion and continent-ocean shearing during the inception of Atlantic rifting. The termination is marked by steeply dipping faults with sigmoidal planform and thrusts that probably formed as a result of continent-continent or continent-ocean shearing. These are crosscut by the seafloor-spreading fabric that formed during the subsequent phase of oceanic crust accretion. The accreted oceanic crust is cut by listric and planar faults that curve in the direction of the COFZ, where they terminate. The transition from continental to oceanic crust across the COFZ is sharp and resolvable to ∼100–200 m. Complexes of lava flows emanate from volcanoes along the COFZ, bifurcating and trifurcating down the volcano flanks. The volcanoes are 2–5.5 km wide and 1.4 km in height relative to adjacent oceanic crust and were injected at the COFZ, probably as the spreading center migrated along it.

2021 ◽  
Author(s):  
Kevin Growe ◽  
Ingo Grevemeyer ◽  
Satish Chandra Singh ◽  
Milena Marjanovic ◽  
Emma PM Gregory ◽  
...  

Geology ◽  
2005 ◽  
Vol 33 (8) ◽  
pp. 641 ◽  
Author(s):  
Richard J. Davies ◽  
Christopher J. MacLeod ◽  
Richard Morgan ◽  
Sepribo E. Briggs

2021 ◽  
Author(s):  
Kevin Growe ◽  
Ingo Grevemeyer ◽  
Satish Chandra Singh ◽  
Milena Marjanovic ◽  
Emma PM Gregory ◽  
...  

2021 ◽  
Vol 48 (2) ◽  
pp. 95-106
Author(s):  
Ana Milena Suárez Arias ◽  
Julián Andrés López Isaza ◽  
Anny Juieth Forero Ortega ◽  
Mario Andrés Cuéllar Cárdenas ◽  
Carlos Augusto Quiroz Prada ◽  
...  

The understanding of each geological-structural aspect in the field is fundamental to be able to reconstruct the geological history of a region and to give a geological meaning to the data acquired in the outcrop. The description of a brittle extensional environment, which is dominated by normal fault systems, is based on: (I)  image interpretation, which aims to find evidence suggestive of an extensional geological environment, such  as the presence of scarp lines and fault scarps, horst, graben and/or half-graben, among others, that allow the identification of the footwall and hanging wall blocks; ii) definition of the sites of interest for testing; and  iii) analysis of the outcrops, following a systematic procedure that consists of the observation and identification of the deformation markers, their three-dimensional schematic representation, and their  subsequent interpretation, including the stereographic representation in the outcrop. This procedure implies the unification of the parameters of structural data acquisition in the field, mentioning the minimum fields  necessary for the registration of the data in tables. Additionally, the integration of geological and structural observations of the outcrop allows to understand the nature of the geological units, the deformation related to the extensional environment and the regional tectonic context of the study area.


2021 ◽  
Author(s):  
Kevin Growe ◽  
Ingo Grevemeyer ◽  
Satish Chandra Singh ◽  
Milena Marjanovic ◽  
Emma PM Gregory ◽  
...  

2021 ◽  
Vol 9 ◽  
Author(s):  
Morgane Gillard ◽  
Sylvie Leroy ◽  
Mathilde Cannat ◽  
Heather Sloan

In this paper we present and analyze spreading-parallel seismic transects that image the oceanic crust in the eastern Gulf of Aden, from the Oman to the Socotra margins, across the active Sheba mid-oceanic ridge and between the Socotra-Hadbeen and Eastern Gulf of Aden Fracture Zones. The correlation of potential field data sets and gravity modelling allow us to document the spreading history of this oceanic basin from the onset of seafloor spreading ∼16 Ma-ago to the present. Two main oceanic sub-domains display distinct structural characteristics associated with different magmatic budgets at this mid-ocean ridge. In addition, we document the occurrence of a magmatic pulse at the Sheba Ridge around 11 Ma leading to the construction of a magmatic plateau in the western part of the studied area. This event led to substantial deformation and additional magmatism in previously formed oceanic crust. It could be related to an off-axis magmatic event previously identified in the adjacent Sheba segment, itself possibly related to the Afar plume.


2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.


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