Enature Images Part 5 102
Enature Images Part 5 102 >> https://geags.com/2temQ1
Popular imaginings of the Pacific Garbage Patch have included comparisons of its size to the state of Texas, or suggestions that it is an island that might be named an eighth continent, formed of anthropogenic debris. Upon hearing of the concentration of plastic wastes in the Pacific, many people search for visual evidence of this environmental contamination on Google Earth. Surely a human-induced geological formation of this magnitude must be visible even from a satellite or aerial view However, because the plastic wastes are largely present as microplastics in the form of photo-degraded and weathered particles, the debris exists more as a suspended soup of microscopic particles that is mostly undetectable at the surface of the ocean.
Oceans have become highly instrumented sensor spaces. An extensive array of sensing nodes and drifting sensor points can be found on buoys and hulls of boats, underwater gliders, and Argo floats (instrument platforms for observing oceanic temperature, salinity, and currents). Ocean sensing also occurs via coastal webcams, remote satellites, remotely operated vehicles (ROVs), autonomous underwater vehicles (AUVs), airborne sensors, unmanned aerial vehicles (UAVs), high-frequency radar, instrumented drilling platforms, and apps that citizens can use to document marine debris sightings.7 Marine traffic tracking sites also document the movement of container ships and other large vessels; and some platforms and maps focus on capturing data from ocean-going objects that are part of the Internet of Things, revealing just how densely populated oceans and seas are with sensing devices.8
Ocean sensing and the detection of pollution, plastics, rising temperatures and carbon levels then involves numerous sensing instruments, including most pervasively Argo floats. Since 2000, thousands of Argo floats have been deployed to form a worldwide ocean-observing system. With nearly four thousand drifting Argo floats now in circulation (and over 2 million dive profiles contributing to global datasets), the Argo system captures temperature and salinity data that informs climate-change projections, while providing a map of ocean currents. Along with climate data, other ocean events such as plastic accumulation also surface as part of the tracking and tracing that Argo floats perform. The floats drift and dive down to one thousand and two thousand meters, and surface, providing data on conductivity and temperature, pressure, salinity, and location. As a communication system composed of Argo floats and the Jason satellite mission, this ocean sensing at once signals Greek mythologies of navigation, the accumulated histories of colonial shipping routes, as well as near-future trajectories for steering Spaceship Earth through the gathering storms of planetary collapse in the form of climate change and the collapse of ocean spaces.
Oceans and objects are sites for sensing practices in the making. Drifters and sensors, together with studies of particle movement and ocean currents, are both abstract approaches to understanding the garbage patch, as well as concrete things that navigate as they generate worlds to be sensed.18 Such techno-scientific observation techniques focused on marine debris in the gyres inevitably also mobilize responses for remediating and managing the issue of plastics in the seas. In this sense, the garbage patch in its intractable plasticity gives rise to techno-scientific practices not just to monitor but also to repair, control, or manage this object of study and concern.19 Emerging systems for sensing oceans materialize as information infrastructures with embedded modes of governance. Yet these attempts to monitor the ocean might also arrive at the inability to arrive at a knowable or governable ocean.20 Ocean-sensing practices reach a limit condition, where they observe and yet cannot fully predict the phase changes that the oceans will experience with plastics pollution and climate breakdown.
The material occasions of oceans are not only a remote object of digital study, but also an actual occasion in which we are now participating and through which we will continue to be affected. Here, new societies of objects emerge from the remains of techno-scientific pursuits and in turn give rise to new monitoring practices for studying these residual and yet generative objects with unknown and indeterminate effects. A key question arises from monitoring the oceans as generative techno-scientific and computational objects: What experimental forms of politics and environmental practices might materialize that are able to attend to these indeterminate and emergent effects, which also portend the end of a world, if not this world
Jennifer Gabrys is Chair in Media, Culture and Environment in the Department of Sociology at the University of Cambridge, and Honorary Visiting Professor in the Department of Sociology at Goldsmiths, University of London. She is Principal Investigator on the projects Citizen Sense and AirKit, both funded by the European Research Council. Her books include Program Earth: Environmental Sensing Technology and the Making of a Computational Planet (2016) and How to Do Things with Sensors (forthcoming).
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Abstract:To establish good ecological status in European rivers, firstly there is the question of how to re-establish unhindered migration for fish at barriers. This article documents a project to re-establish longitudinal connectivity at a large epipotamal river at the Schwabeck Hydro Power Plant, Carinthia/Austria, from the selection of an appropriate fish pass system to the final function control. Instead of a standard vertical slot, the innovative enature fish pass shape with a significant reduction of flow, velocities, energy dissipation rate, and turbulences, but with a clear enhancement of fish passage capability, was chosen. Using 2D hydraulic modelling and a statistical evaluation of fish passage, physical and ecological effects were reviewed, with the clear result that there is no identifiable, positive ecological effect on the number of fish migrating with an increase of concurrent flow in the fish pass. Passability and findability were monitored with the new FishCam, an automatic, precise, and constant (24/7 24 h a day, seven days a week) collection and pre-evaluation field data survey method which does not involve trapping of, contact with, or stress for fish. It was shown that the enature fish pass enables an unhindered migration for all available fish species. As >99% of fish migrate from April to November, there is no ecological need to operate a fully functional fish pass year-round. Combining all the individual factors together, the fish pass at the Schwabeck Hydro Power Plant is an almost exemplary solution for a fully functioning restauration of the continuum with a minimized loss of generation of electricity.Keywords: enature fish pass; longitudinal connectivity; guiding flow; FishCam monitoring; habitat status assessment
Ukiyo-e was central to forming the West's perception of Japanese art in the late 19th century, particularly the landscapes of Hokusai and Hiroshige. From the 1870s onwards, Japonisme became a prominent trend and had a strong influence on the early Impressionists such as Edgar Degas, Édouard Manet and Claude Monet, as well as having an impact on Post-Impressionists such as Vincent van Gogh, and Art Nouveau artists such as Henri de Toulouse-Lautrec.
Edo was the primary centre of ukiyo-e production throughout the Edo period. Another major centre developed in the Kamigata region of areas in and around Kyoto and Osaka. In contrast to the range of subjects in the Edo prints, those of Kamigata tended to be portraits of kabuki actors. The style of the Kamigata prints was little distinguished from those of Edo until the late 18th century, partly because artists often moved back and forth between the two areas.[70] Colours tend to be softer and pigments thicker in Kamigata prints than in those of Edo.[71] In the 19th century many of the prints were designed by kabuki fans and other amateurs.[72]
Japanese art, and particularly ukiyo-e prints, came to influence Western art from the time of the early Impressionists.[111] Early painter-collectors incorporated Japanese themes and compositional techniques into their works as early as the 1860s:[98] the patterned wallpapers and rugs in Manet's paintings were inspired by the patterned kimono found in ukiyo-e pictures, and Whistler focused his attention on ephemeral elements of nature as in ukiyo-e landscapes.[112] Van Gogh was an avid collector, and painted copies in oil of prints by Hiroshige and Eisen.[113] Degas and Cassatt depicted fleeting, everyday moments in Japanese-influenced compositions and perspectives.[114] ukiyo-e's flat perspective and unmodulated colours were a particular influence on graphic designers and poster makers.[115] Toulouse-Lautrec's lithographs displayed his interest not only in ukiyo-e's flat colours and outlined forms, but also in their subject matter: performers and prostitutes.[116] He signed much of this work with his initials in a circle, imitating the seals on Japanese prints.[116] Other artists of the time who drew influence from ukiyo-e include Monet,[111] La Farge,[117] Gauguin,[118] and Les Nabis members such as Bonnard[119] and Vuillard.[120] French composer Claude Debussy drew inspiration for his music from the prints of Hokusai and Hiroshige, most prominently in La mer (1905).[121] Imagist poets such as Amy Lowell and Ezra Pound found inspiration in ukiyo-e prints; Lowell published a book of poetry called Pictures of the Floating World (1919) on oriental themes or in an oriental style.[122] 153554b96e