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Mars Rocks

Call them Martian fossil hunters.

UNLV research study, released recently in the journal Nature Communications, might help evaluate landing places and excavation sites for NASA’s 2020 rover objective to Mars that intends to find proof of previous Martian life in the rocks of the red planet.

The ambitious objective will put a robot on Mars that can draw out rock and soil samples to identify if there were living organisms on the planet found some 33.9 million miles far from humans.

NASA’s plan is to grab samples from promising locations and possibly return them to Earth. Places with clay minerals that suggest where water was as soon as present on Mars are considered great targets, as these environments may have been habitable. Clay minerals are likewise terrific at maintaining organic molecules on their surfaces and in their interlayers.

There are countless locations on Mars believed to have the clay minerals NASA is trying to find, consisting of Gale Crater, a 96-mile-wide dry lake bed where the rover Interest landed in 2012.

However curiously, the Interest objective discovered natural particles in concentrations lower than anticipated.

That left researchers astonished, consisting of a group of UNLV geoscientists who set out to explain why the concentration of organics was lower than anticipated.

Scientists, led by UNLV geoscience professor Elizabeth “Libby” Hausrath and previous Ph.D. trainee Seth Gainey, were able to recreate clay minerals in a UNLV geoscience lab similar to what might be discovered in the Gale Crater. Their work offered a description for why the concentrations of organics were lower than prepared for.

It ends up iron-magnesium rich clay minerals may not always be conducive to the preservation of organic matter after all.

“The outcomes suggested that the iron-magnesium rich clay minerals formed rapidly under oxidized conditions, which could assist discuss low concentrations of organics within some rocks or sediments on Mars,” said Gainey.

For decades, experiments recommended that the clay minerals manufactured in this research study need anoxic/reducing conditions to form, which is a residential or commercial property useful for the conservation of past raw material, including possible indications of life. The team carefully checked the presumption that anoxic/reducing conditions were needed.

“The fact that organic molecules have not been found in greater concentrations in clay minerals on Mars was perplexing, however the outcomes of our experiments– that we can synthesize clay minerals under conditions that would ruin organic molecules– assists us understand those outcomes,” stated Hausrath.

Although the minerals do form under anoxic/reducing conditions, they likewise form under oxidizing conditions, which would not be ideal for preserving previous organic biosignatures. The new results suggest those conditions would actively destroy natural biosignatures, Gainey said.

Fully comprehending how the minerals were formed is vital when searching for areas that may preserve organic biosignatures on Mars, which is an essential aspect of the upcoming Mars 2020 mission.

Grant funding for the research originated from the NASA Mars Basic Research Study Program. The research team likewise consisted of Oliver Tschauner, Christopher Adcock, and Courtney Bartlett of the UNLV Department of Geoscience, and researchers at California Institute of Innovation, Stony Brook University, and Argonne National Laboratory.

Building the Modern Marimba

Meeting retired music teacher James Bailey in June 2016 over a cup of coffee in Adelaide Hills, Australia, we developed a concept for a collaborative job that would involve three countries, the Las Vegas neighborhood, and 3 departments on the UNLV school.

Marimba building is a carefully guarded craft, with only a handful specialists running worldwide. Baily had constructed 40 marimbas in his profession, however was now retired. He wanted to make one more marimba, but this time to document the process– not just for his legacy, however to show marimba players just how much work enters into the making of the instrument, permitting them to value their instrument in a much deeper way.

In January Bailey and the UNLV Percussion Studio began to construct a five-octave performance marimba on the UNLV campus. Not only did we start the project in its own right, but we dealt with two film trainees to turn the procedure into a first-of-its-kind documentary.

Similar in appearance to a xylophone, a marimba is a percussion instrument that consists of a set of wooden bars organized like the keys of a piano and struck with mallets. Underneath, a series of pipelines, called resonators, aid amplify the noise.


College of Fine Arts Presents “” Music & & The Brain” Symposium Feb. 21

College of Fine Arts Dean Nancy Uscher welcomes you to a symposium titled “Music & & the Brain” at 1 p.m. Wednesday, Feb. 21, in the Barrick Museum of Art. It is presented by School of Dental Medication professor Lawrence Zoller.

Zoller got his Ph.D. from Rutgers University in 1976. He then, in 1978, finished a postdoctoral fellowship in the department of reproductive biology at Hershey Medical Center. His research concentrated on female reproduction and particularly on the mechanism of follicular maturation and ovulation.

Prior to signing up with UNLV in 2005, he was an associate teacher in the department of anatomy and neurobiology at Boston University School of Medicine. Aside from his research, he also was actively associated with mentor numerous courses to medical, dental, and graduate students. These courses included anatomy, neuroanatomy, histology, embryology, and physiology. In 1986, at the behest of the dean of the dental school, he initiated and coordinated a joint program for the physiological sciences for the oral curriculum at Boston University. He won numerous mentor awards and is the only non-clinician to win the Spencer R. Frankl Award for Quality in Mentor. This award honors the best general teacher in the oral school.

Upon joining the UNLV School of Dental Medicine he became the head of the physiological sciences program. He was the first instructor to develop an online course for the oral homeowners. He is understood for his Socratic teaching methods. He has served on various national committees dealing with oral and medical curricula. Aside from his professional obligations he takes pleasure in cooking, treking (to sweat off the cooking), music, reading, photography, and Star Trek. He wishes, to all, “Live Long and Prosper”.

Admission Information

This event is free and open to the general public.

New Face: Benjamin Richards

After investing his teenage years longing to break without suburbia, the adult Benjamin Richards carried on to varied locales including Montreal and New york city City. Now he is turning his creative eye on Las Vegas and UNLV.


The video designer job in the imaginative services department was a newly produced position and I really take pleasure in the opportunity to build something from scratch. I have actually done that in the last few tasks I’ve had and I find that rewarding. Likewise, I delight in working for institutions with a certain amount of status.

What are a few of your responsibilities?

My task is to handle UNLV’s marketing video assets– to facilitate and generate new video content for web and social platforms.

How is UNLV various from other locations you have worked?

It’s so young. I have actually constantly worked for ancient, established institutions. It’s neat to see the flexibility that the school has since of its youth.

Where did you work prior to getting to UNLV?

I was the live events video director for the New York Public Libraries (NYPL). My chief responsibility was video production for a live occasion talk series entitled LIVE from the NYPL including lots of popular people. (Actress) Helen Mirren was interesting and among my favorites. (Author) Elizabeth Gilbert was actually intriguing. (Director) John Waters is such a character and has such terrific stories from life. (Boxer) Mike Tyson was a big surprise. He is a huge war history enthusiast– ancient wars. As soon as the mediator got him on the topic he simply talked and talked about ancient war history. It was remarkable, the breadth of his knowledge.

How did you get into your field?

I have actually been doing video considering that I was a kid and my grandpa provided me his VHS camcorder. I made unusual little videos. I founded the video club at my high school. I constantly thought I wished to make music videos. You could get experimental and progressive and still have high production worths. Then I left movie for a while and eventually got my bachelor of arts in dance from Sacramento State. I aspired to be a professional dancer, however I began studying late and didn’t quite have the physical discipline. The 2 worlds satisfied when I started doing video for dance. Dance is always going to belong of my life. I definitely see the world through a lens of movement. It equates into my work. I see the camera as a dancer.

Exactly what is the biggest difficulty in your field?

The quality of concentrate on the platforms where my item is taken in. Now it is mainly taken in on social media. The quality of the audience’s attention period is poor and brief. How do you present something in video that will catch someone’s attention and hold it long enough to deliver a message? Another challenge is having to produce content that can be taken in with and without sound.

When you are producing something you want individuals to offer it the attention they would give a great book that has some nuance and artistry to it. It is hard to discover the space today to share content that way.

Where did you mature?

California– all over. I think I lived the longest in El Dorado Hills outside Sacramento. It was irritating at that age– middle school, high school– I was champing at the bit for my freedom and I felt caught in suburbia.

Inform us something daring you have actually done.

Living in Montreal was bold. Relocating To New york city was daring, too. I resided in Montreal for 3 years. I had to find out the work visas and whatever. Then I transferred to New York City without any task and no home.

Finish this sentence, “If I could not work in my existing field, I would like to …”.

Work in a greenhouse. I love plants, especially tropical plants. I raise orchids. To make a living I might create wall installs, hanging orchids, and hanging plants. I discovered the Las Vegas Orchid Society. Hundreds of orchids may be brought into town for a huge event then tossed out afterward. The Las Vegas Orchid Society gets these “rescue” orchids and offers them cheap. I buy them and grow them in my bedroom. Then I can experiment with my styles.

Fielding New Experiences

Allison Slaughter hesitated to become a social worker. She was drawn to social work courses as she worked on her bachelor’s degree in sociology however anxious she ‘d end up being overloaded with heartbreak for future clients if she pursued it as a profession.” Sometimes we need to utilize fear as a motivator,” she said. “I didn’t understand if I would take on a lot of emotional baggage. Making sure I didn’t take that home was something I was stressed over.”

Slaughter now anticipates to graduate this spring with a master’s degree in social work, thanks in big part to the field experiences incorporated into the UNLV School of Social Work’s programs.

The experiences help trainees identify early on whether or not they truly enjoy social work, said Marde Closson, the school’s field education director. The program runs like a task market with trainees applying for positions online through approved employers.

Social work isn’t really for everyone. The field, Closson said, typically requires empathy, patience, commitment, and an ability to separate oneself from the heavy emotional toll of some of the work.

Massacre stated her moment of clarity came a few months into a practicum experience at Behavioral Providers of Nevada, where she spent 300 hours in the fall assisting with and observing whatever from group therapy to psycho-education of kids.

” It’s my first time experiencing that private person-to-person interaction and having the ability to talk to someone about issues they may be experiencing in life,” she said. “It’s likewise my very first time working actively with kids. All these factors produced this ideal community of, ‘Oh my God, how did I not recognize this before?'”

A Benefit in the Job Market

Companies who handle social work students gain from the program by connecting with prospective staff members, training them to the business’s requirements, and potentially employing those students in the future.

At any offered time, the university has about 225 social work students, including both undergraduate and graduate, at practicum sites consisting of the Clark County School District, 7 Hills Health Center, Southern Nevada Grownup Mental Health Solutions, the Department of Veterans Affairs, and regional private practices.

Before students have actually even gotten their degrees, they are making an effect in the neighborhood, Closson stated. Bachelor’s trainees total 2 practicums their senior year, totaling 480 hours. Master’s trainees, relying on their status in the program, complete 225 hours or 300 hours per term. Integrated, UNLV students supply more than 100,000 hours of service each year to the neighborhood, nearly entirely complimentary of charge.

” You can study social work all you want to in the books, however up until you get into the field, you do not actually have a mutual understanding,” Closson stated. “This offers a safeguarded environment for that knowing. Students have the ability to observe, see how social work is practiced, and begin doing.”

Massacre concurred. “The benefit of having these field practicum workouts is that I’m putting all the knowledge I have into this,” she said. “I’m drawing the connections. I’m attempting to implement exactly what I see, and I’m so intellectually curious that I’m going to research even more.”

Fellowship Award

Massacre became the second UNLV trainee to be awarded the yearlong Council on Social Work Education’s Minority Fellowship Program-Youth. She received a monetary stipend and access to online resources targeted at working with children at danger for mental health or drug abuse issues. She’ll also go to a training seminar in Virginia along with other national recipients to increase her cultural proficiency when working with ethnic and racial minorities.

“I’m ecstatic,” Slaughter stated. “Whatever I wished to perform in my educational career is in this fellowship.”

In between Massacre’s practicum and the fellowship, she’ll be well prepared to serve Las Vegas’ high population of homeless youth and teenagers, Closson noted.

“Among the greatest needs we have in Las Vegas is supplying behavioral health services to youth in between 12 and 25 or 26,” she stated. “We believe that if we could provide services to those individuals when they’re young, it will assist avoid further issues and requires into adulthood.”

Barrick Museum Presents Art & & Science of Color Theory Feb. 12

Go To the Marjorie Barrick Museum of Art at 7 p.m. Feb. 12 for an unique look into the art and science of color theory with Julie Oppermann. Learn what it suggests to consider vision as an active procedure in the brain, not just the eye.

Informed by Oppermann’s neuroscience background as well as her active international painting practice, this presentation will discuss everybody from 19th-century French chemist Michel Eugène Chevreul to Op Art’s Bridget Riley as we travel through the history of color theory in Europe and its journey to the U.S.

. This talk will become part of a series of lectures and workshops by artists in our spring 2018 exhibit “Plural.”

Admission Info

This occasion is free and available to the general public.

Recommended voluntary contribution:

$ 5 adults
$ 2 kid and senior

From the Ground Up

“The Machu Picchu of Las Vegas” sounds about right. If MGM Resorts announced that as a brand-new job tomorrow, you ‘d believe it was the go back to the tragically gone-by age of themed Las Vegas homes. But the city’s Incan splendor isn’t really on the Strip. It’s Ascaya, a virgin advancement, terraced into foothills of Black Mountain, south of MacDonald Cattle ranch and MacDonald Highlands. Its tangle of roads snake around perfectly empty lots, electrical boxes spaced out, mail boxes waiting for the Post Office to have a reason to come calling.

“I wanted to have the ability to catch Ascaya in a way that it might never ever be seen again,” said Aaron Mayes, curator for visual products for UNLV Special Collections and Archives, and curator of Constructed. “Even if the valley is dead and gone, this land will be this way. It’s so heavy, as far as man’s hands are.”

Constructed, currently on screen on the first floor of Lied Library, is a photographic study of development in the Las Vegas Valley, from the method Las Vegas is organized around cars and trucks, to the unanticipated effects of development, to a far-and-wide trek from one end of Sahara Opportunity to the other. Mayes files with an archaeological feel the transformation and stagnation of the street through the years.

Slated to go through the end of the term, Built belongs to the larger Structure Las Vegas documenting the development of Las Vegas from 1970 to 2010 through photos, archival product, and oral histories.

Mayes had currently shot some of the images for Constructed prior to the exhibition began coming together about a year ago, however as the task coalesced, a metacommentary about the nature of how cities grow started to develop.

A sprawling compound with a luxe pool was surrounded by empty desert, utilized by off-road drivers to turn doughnuts. Las Vegas wash, cutting through a golf course in one part of town, and removing a homeless man’s valuables in another. Wetlands permanently changed by the consequences of advancement.

“Among the things I observed in our advancement cycle is that we’re stuck with specific things. We’re stuck with economics, we’re stuck with environments, and we’re stuck to that fight between. And what’s left over after that battle, this is what I called abnormal effects.”

The actions of Ascaya and the snarl of highways that bound Las Vegas are significant, but Developed depend upon its installation about Sahara Opportunity, which Mayes chronicles in a series of specific photos set versus a map, from Red Rock Country Club in the west a Dawn Manor desert lot in the east.

It shows both master planned neighborhoods in complete blossom and decades of development that has sat, unblemished, because the ground was raised.

“Sahara Avenue is to me just this interesting time maker because you start with railway tracks laid in 1905 and, as you go out, it’s development in fantastic fits and spurts,” Mayes said. “You wind up with areas like this that feel extremely 1980s, and it will provide scientists a possibility to come relax and they can take a look at time flying. It’s struck on exactly what I believe is missing from our collection, that Las Vegas is more than simply that little piece of Strip. That there are communities that are constructed, and how those communities are developed are a little different than in St. Louis or New York City City.”

As a buddy piece, Special Collections curator Peter Michel has organized Unbuilt Las Vegas: Conception Stopped Working Dreams on the 3rd flooring of the library, narrating projects from designers like Martin Stern, Homer Rissman and Gary Man Wilson that never ever took their place on the Strip.

Stern’s Xanadu project, which was planned for the website on which Excalibur presently sits, would have been a leviathan built around a huge atrium, the echoes which can be felt in tasks like Luxor and The Mirage. Unbuilt looks not only at that project, however in the methods other designers kept aiming to suitable and revise it, as well as prepare for an arena (think of that) and the western-revival Bonanza Hotel and Gambling Establishment.

The Universal Language of Magic

Checking out the mind of Santiago Michel isn’t really tough these days. The UNLV senior opened his new Planet Hollywood show Ilusión Mental to audiences with a mix of mind reading and mind-bending illusions. However he didn’t count on his intuition to break ground with the Strip’s very first all-in-Spanish program.

“I didn’t know if it was going to work,” stated the Mexico City local of the concept for producing a program that deals with the Latino market. “I thought it made sense, however I needed assistance to do some research.”

Michel parked himself in the front row his Sociology of Gaming class and soon exposed his idea to professor Bo Bernhard.

“At the time, I remember thinking, either you’re the fortunate genius who has developed a dazzling concept, or you’re the unfortunate genius who developed it simply a couple of years too early,” said Bernhard, who in addition to teaching for the Harrah College of Hospitality works as the executive director of UNLV’s International Gaming Institute.

He helped link Michel to the market research and mentored him on how to make his company pitch.

However convincing the entertainment-soaked Strip that there was space for an Spanish-language magic show was a tough sell, in spite of the fact that around 6 million annual visitors to Las Vegas speak Spanish. Many residential or commercial properties handed down the task.

“It didn’t matter the number of ‘Nos’ I got because I knew that it would only take one ‘Yes,'” Michel said.

World Hollywood did more than provide Michel a phase, he says; it challenged him to create an experience that is both dynamic and distinct to each audience.

And while Ilusión Mental deals with Spanish-speakers (the program draws audiences from as far as Argentina), Michel explains that magic transcends the bounds of language.

“It’s an all-ages, all-backgrounds, highly visual program. You do not need to speak Spanish to enjoy the program.”

Maturing in Mexico City, Michel saw magic as more than a pastime. It is an artform to be looked into, studied, and practiced. His parents nurtured his passion for magic but were also clear about the value of a solid education.

“My moms and dads told me the only way they would support me was if I went to college,” Michel stated. “I came to UNLV due to the fact that I wanted to become a professional magician, and I wanted to do this in Vegas. I imply, UNLV is the only location in the world where you can be a college student and have a show on the Strip. It is one of the most Vegas thing ever.”

His experience at UNLV’s Hospitality College has given him indispensable professional tools.

“The college has actually broadened my horizon,” Michel stated. “It assisted me find out how to approach individuals, how to communicate with individuals from all over the world.”

And what of the deal he made with his moms and dads?

“I told them I will end up college not matter exactly what happens,” said Michel, who just began his last semester. “I might need to sacrifice some sleep, but I will complete.”

UNLV Hosts Second Yearly Las Vegas Baroque Celebration Feb. 15-18

The UNLV School of Music is pleased to host the 2nd yearly Las Vegas Baroque Celebration Feb. 15-18 on the UNLV school. The included ensemble is the New York-based ensemble House of Time. This group is committed to music of the 17th – 21st centuries played on historic instruments. They intend to “utilize the instruments and strategies of the past to reveal the brilliant passions” in all music, old and brand-new. In a lot of cases, the instrumentalists of this group play on antique instruments, while others use reproductions thoroughly crafted to the requirements of the originals.

The celebration also welcomes Justin Bland, baroque trumpeter and UNLV alumnus, who is currently based in Denmark. Bland has carried out with much of the best-known early music ensembles around the globe, and is the winner of multiple historical instrument departments at the National Trumpet Competitors. He will perform solo and concerto collection with professors and student ensembles on trumpets based on designs of the 18th century.

A number of community occasions, such as a baroque dance party, the opportunity for instrumentalists or vocalists to make music with experienced continuo gamers, and totally free lectures on baroque music, art, and culture also will occur. This year’s festival is being run in conjunction with the regional meeting of the Western Society for Eighteenth-Century Research Studies (WSECS), which brings scholars from around the world to UNLV’s school to discuss the history, literature, art, music, and culture of the period in which the show repertoire was composed. Auditors are welcome to attend these paper readings and conversation panels in addition to our musical presentations.

For tickets, please see or call 702-895-ARTS (2787 ).

Schedule of Occasions

Thursday, Feb. 15, 7:30 p.m.Las Vegas Baroque Celebration: UNLV Show Singers
The UNLV Show Singers provide the Te Deum by Marc-Antoine Charpentier.Doc Rando Recital
Hall $10– basic admission$8 marked down tickets are offered to senior citizens, military members, and UNLV faculty and personnel. All trainees might receive one totally free ticket with legitimate ID. Friday, Feb. 16, 10-11:15 a.m.Las Vegas Baroque Celebration: Masterclass with Justin Bland, baroque trumpet Doc Rando Recital Hall Free and open to the general public Friday, Feb. 16, 11:30 a.m.-12:45

p.m.Las Vegas Baroque Festival: Masterclass with Gonzalo Ruiz, baroque oboe Doc

Rando Recital Hall Free and available to the public Friday, Feb. 16, 7:30 p.m.Las Vegas Baroque Celebration: House of Time Ensemble Home of Time, New York City’s period instrument ensemble

, performs a concert of sonatas and fantasias by Vivaldi, Telemann,
and the Bach family.Doc Rando Recital Hall $25– general admission$8 discounted tickets are readily available to seniors, military members, and UNLV professors and staff. All students might receive one totally free ticket with valid ID. Saturday, Feb. 17
, 11 a.m.Las Vegas Baroque Festival: Masterclass by Stephen Schultz, traverso Stephen Schultz of your home of Time ensemble will give a masterclass to UNLV students.Free and open to the general public Location: Doc Rando Recital Hall Saturday, Feb. 17, 4 p.m.Las Vegas

Baroque Festival: Baroque Dance Party Dolly Kelepecz and Margot Colbert, faculty from the department of dance, will give an interactive class on baroque dance.Free and available to the general public BMC, Room 159 Saturday, Feb. 17, 7:30 p.m.Las Vegas Baroque Festival: Professors and Pals Performance UNLV faculty and guests carry out a show of Telemann, Zelenka, Finger, and J.S. Bach on contemporary and duration instruments
. Including Justin Bland, natural trumpet; Stephen Caplan and Barbara Orland, oboe; Janis McKay, bassoon; Voltaire Verzosa, countertenor; Gregory Maldonado
, baroque violin

; Ka-Wai Yu, viola da gamba; Andrew Smith, cello; Brycen Ingersoll, double bass; Jennifer Grim, traverso; and Jonathan Rhodes Lee, harpsichord.Doc Rando Recital Hall$ 10– general admission$8 marked down tickets are readily available to seniors, military members, and UNLV faculty and staff. All students may get one totally free ticket with legitimate ID. Sunday, Feb. 18, 4 p.m.Las Vegas Baroque Celebration: Joint Recital-Paul Hesselink, organ, and Jonathan Rhodes Lee, harpsichord, carrying out works by Buxtehude, Handel, Couperin, and Byrd.Doc Rando Recital Hall Free and available to the general public Sunday, Feb. 18, 7:30 p.m.Las Vegas Baroque Festival: UNLV Chamber Orchestra with Justin Bland, natural trumpet The UNLV Chamber Orchestra carries out a show of concerti by Handel and Telemann featuring Justin Bland, natural trumpet Doc

Rando Recital Hall $ 10– basic admission$ 8 marked down tickets are readily available to senior citizens, military members, and UNLV professors and staff. All trainees might get one free ticket with valid ID.