Vesiculation and densification of pyroclasts: A clast-size dependent competition between bubble growth and diffusive outgassing

Weaver, Joshua; Lavallée, Yan; Ashraf, Maliha; Kendrick, Jackie E.; Lamur, Anthony; Schauroth, Jenny; Wadsworth, Fabian B.

doi:10.1016/j.jvolgeores.2022.107550

Cited by 4 publications

(10 citation statements)

References 59 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Using theHess and Dingwell [1996] model, we find good agreement between our obsidian data for µ(T ), and the model result for 0.14 wt.% H 2 O in the glass. This best-fit H 2 O concentration is, in turn, consistent with direct H 2 O determinations using this same obsidian[Tuffen and Castro 2009;Ryan et al 2015;Wadsworth et al 2018;Coumans et al 2020; Seropian et al 2022;Weaver et al 2022].…”

supporting

confidence: 83%

“…Using obsidian in glass art practice Wadsworth et al 2022 either collated from published sources [Halem 1996;Cummings 1997;Schmid 1998;Petrie 2019] or via discussion with practicing glass artists. We select terms that have some analogy in volcanological processes or volcanic materials, and then provide a loose working definition of the term.…”

Section: Differential Expansionmentioning

confidence: 99%

“…Cristalica® shares more similarities, in terms of viscosity-temperature behaviour, with a basaltic magma, particularly in the range of temperature 600-1000 • C (viscosity range approximately 10 4 < µ < 10 8 Pa s). The basaltic viscosity-temperature relationship is found using a hydrous Etna composition as indicative of a basaltic glass [Giordano and Dingwell https://cristalica-studioglass.com/Datenblatt/ Using obsidian in glass art practice Wadsworth et al 2022Wadsworth et al 2003. Unlike obsidian, sub-aerial, terrestrial basaltic glasses are relatively unstable and prone to crystallization, and so while the comparison is tantalizing, basaltic glass is unlikely to be of wide utility in glass art.…”

Section: Viscositymentioning

confidence: 99%

“…, 'Melting Dragonglass to Cast an Obsidian Axe' † ), in which an unspecified fluxing agent is mixed with crushed obsidian powder prior to melting. Presumably, the flux was thought to be required to render the molten obsidian sufficiently low viscosity for pouring, casting, and manipulating at standard kiln https://www.youtube.com/watch?v=CA3lIuN_zVE&t=1s † https://www.youtube.com/watch?v=uP3a-BweNUc Using obsidian in glass art practice Wadsworth et al 2022 or furnace temperatures and using standard glass-or metal-working techniques. In a YouTube™ video with a similar aim from Timon Show (title: 'Experiment: Obsidian Sword from Lava' emphasis removed), no flux appears to have been used, but rather the starting material may not have been a silicic volcanic rock (see frame at time stamp 0:04 for an image of the starting rock).…”

Section: Materials and Process Challengesmentioning

confidence: 99%

“…Using obsidian in glass art practice Wadsworth et al 2022 • the use of digital techniques to assist in design and with direct glass manipulation [e.g. Klein 2018] including 3D printing of cold or hot glass [Chivers 2015;Kotz et al 2017];…”

Section: Introductionmentioning

confidence: 99%

See 4 more Smart Citations

Using obsidian in glass art practice

Wadsworth

Llewellin²,

Rennie³

et al. 2022

Volcanica

View full text Add to dashboard Cite

Glass art practice is indivisible from the material behaviour of glass at a range of working conditions, providing a direct link with the science of glass and melts. The use of non-standard, non-commercial, or natural glass compositions in art usually brings with it challenges associated with unexpected or undesirable processes, such as bubble formation and growth, liquid-liquid immiscibility, heterogeneities, and devitrification. For these reasons, natural geological compositions, including obsidian, have typically been avoided in glass art, with a few pioneering exceptions. Here, we bring together the results of mutual experimentation, knowledge-exchange workshops, and successful obsidian and magma use-cases in glass art in order to constrain the usability of obsidian and the techniques most suitable for rendering the material amenable to glass art practice. We conclude by exploring opportunities for collaboration between volcanologists and glass artists, which we propose would develop both fields in novel directions.

show abstract

supporting

confidence: 83%

Section: Differential Expansionmentioning

confidence: 99%

Section: Viscositymentioning

confidence: 99%

Section: Materials and Process Challengesmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 3 more Smart Citations

Using obsidian in glass art practice

Wadsworth

Llewellin²,

Rennie³

et al. 2022

Volcanica

View full text Add to dashboard Cite

show abstract

Obsidian clasts as sintered remnants of agglutination processes in volcanic conduits, evidence from the Pepom tephras (Sete Cidades), São Miguel, Azores

Ellis,

Pimentel,

Cortes-Calderon

et al. 2023

Chemical Geology

View full text Add to dashboard Cite

Evidence for the formation of silicic lava by pyroclast sintering

Foster,

Wadsworth,

Tuffen

et al. 2024

Nat Commun

Self Cite

View full text Add to dashboard Cite

Silicic lavas can be produced by the sintering of pyroclasts in the volcanic sub-surface, and then advected out of the vent. Here, we provide evidence for this mechanism preserved in the exposed post-glacial remnants of a silicic volcanic conduit at Hrafntinnuhryggur, Krafla volcano, Iceland. We show that the conduit margins are a clast-supported pumice lapilli tuff deposit that grades continuously into dense obsidian and that the obsidian contains cuspate relict clast boundaries and country rock lithic fragments throughout. Transects of H2O concentrations across the conduit show that the magma was degassed to different degrees laterally with systematic spatial variation that is consistent with progressive conduit clogging and final gas pressurisation. Textures in the overlying effusive lavas record the variably sheared and brecciated remnant of the same in-conduit sintering. This record of a silicic conduit system connected to upper eruptive deposits provides support for the ‘cryptic fragmentation model’ for effusive silicic volcanism.

show abstract

Vesiculation and densification of pyroclasts: A clast-size dependent competition between bubble growth and diffusive outgassing

Cited by 4 publications

References 59 publications

Using obsidian in glass art practice

Using obsidian in glass art practice

Obsidian clasts as sintered remnants of agglutination processes in volcanic conduits, evidence from the Pepom tephras (Sete Cidades), São Miguel, Azores

Evidence for the formation of silicic lava by pyroclast sintering

Contact Info

Product

Resources

About